A_ C A T A LOGUE 
 
 '■■!•.■: 1 :i!i:;:|'| ;i !;!;S;!;; ; :jij:!A of the ^ [1 llnliuliiliiil 
 
 COLLECTION OF DRAWINGS 
 
 BY THE 
 
 OLD MASTERS, 
 
 FORMED BY THE LATE 
 
 W. MAYOR, ESQ., 
 
r 
 
THIS COLLECTION OF DRAWINQS, 
 
 FORMED BY THE LATE WILLIAM MAYOR, 
 
 CAN BE SEEN 
 
 BY APPOINTMENT 
 
 AT 
 
 Messrs. HOGARTH'S, 96 Mount Street, 
 Grosvenor Square, 
 
 London, W, 
 
r 
 
a TBrtef Chronological Description 
 
 OF A COLLECTION OF 
 
 ORIGINAL DRAWINGS 
 
 AND SKETCHES 
 
 BY 
 
 THE OLD MASTERS 
 
 OF THE DIFFERENT SCHOOLS OF EUROPE, 
 
 From the Revival of Art in Italy in the Xlllth to the XlXth 
 
 Century ; 
 
 FORMED BY THE LATE 
 
 MR. WILLIAM MAYOR, 
 
 0f §u%Mzx fill, fmforo, 
 
 THE RESULT OF UPWARDS OF FIFTY YEARS' EXPERIENCE AND 
 RESEARCH. 
 
 LONDON. 
 1875. 
 
LONDON : 
 
 Printed by John StrangewaYs, Castle Street, Leicester Square, 
 
PREFACE. 
 
 HAT drawings and sketches have been held in estimation 
 from the earliest period numerous examples still existing 
 in the possession of Continental museums and private 
 families sufficiently attest. And as art progressed, and England 
 began to waken to its importance, having no native produce of 
 our own, royal and noble persons soon began to exchange their 
 wealth to obtain in return a property that, while it affords delight 
 to the possessor, imparts information to the beholder. It was by 
 these means that Henry VII. first became acquainted with the 
 works of Maubeuze and Torrigiano, and that his son Henry 
 sought to induce Raffaelle and other eminent men to come to 
 this country. 
 
 The first collector who systematically got together the draw- 
 ings and sketches of the great masters was Giorgio Vasari, the 
 friend and pupil of Michael Angelo, consequently the contem- 
 porary of many of the eminent men upon whose works we now 
 look with so much respect and admiration. His collection con- 
 sisted of several volumes, which he often refers to in his Lives 
 of the Painters. They were preserved with great care, and the 
 ornamental borders with which he mounted them are not esteemed 
 as the least valuable of his designs. Vasari's example was fol- 
 lowed by the Italian nobility and gentry ; * hence it is that our 
 
 * Cardinal Leopold collected many thousand examples from the age of 
 Cimabue to his own time, preserved in Florence in about one hundred 
 volumes. 
 
V 
 
 PREFACE. 
 
 kings, dukes, lords, and gentry, brought to England so many fine 
 examples. 
 
 The same desire to possess these masterpieces — these step- 
 ping-stones to excellence and grammar of art — that influenced 
 the Italian nobility had its counterpart in Henry VIII., to whom 
 we are indebted for so many fine drawings by Holbein remaining 
 in this country ; and it is something to our credit that it was in 
 England, whose climate to the end of the eighteenth century was 
 said to be prejudicial to the growth of art, he learnt painting in 
 water colours. 
 
 The first collection of drawings of a miscellaneous character 
 made here was that formed by Thomas Howard, Earl of Arundel, 
 part of which was sold when the Earl left England, many of 
 them passing into the collection of Charles I. After the death of 
 the King the important collection he possessed was sold ; and 
 among the buyers of his drawings was one foreigner in particular, 
 a wealthy man, of good taste and judgment, viz. M. Everard 
 Jabach, a Parisian banker, who bought very largely and carried 
 them to Paris, where, in the Rue St. Mery, he had formed a vast 
 assemblage of the choicest description of works of art. After a 
 lapse of seventeen years, in consequence of his affairs becoming 
 embarrassed, he proposed to the King (Louis XIV.) to sell his 
 collection. The monarch consulted with his Minister Colbert, 
 and decided to purchase the drawings by the old masters and the 
 pictures, leaving it to him to arrange the terms. After the affair 
 was concluded they became the property of the Crown, and were 
 conveyed to the Louvre, where they have since remained. 
 
 Other collectors soon arose in France, and pre-eminent among 
 hem was M. Crozat's, whose collection consisted of 19,000 
 examples, many of them small and slight, but, as Richardson 
 said, 'All were good.' Many of them he purchased from the 
 Marquis Antuldi, who inherited them from his ancestors, who had 
 them direct from the artists. A large portion of this collection, 
 including many fine Raffaelles, was purchased by the Empress of 
 Russia, and are now in the Hermitage. Another large purchaser 
 was the custodian of the collection, M. Mariette, at whose death 
 they were sold by auction. An interesting catalogue of this sale, 
 
PREFACE. 
 
 v 
 
 with drawings on the margin of the choicest pieces, is in the 
 collection of the Earl of Ellesmere. 
 
 The taste for drawings by the great masters created by the 
 King and the Earl of Arundel seems never to have been lost in 
 England. Sir Peter Lely formed a collection, to which he sub- 
 sequently added by purchase the remaining half of the Arundel 
 collection, and at his death the sale by auction produced 
 1848/. gs. 6d. Philip Henry Lankrink, who assisted Lely by 
 painting the backgrounds to his pictures, bought more largely at 
 the sale than he could afford to pay for, and they were resold 
 during his lifetime; but the greatest purchaser was William 
 Gibson, the artist, who added by this opportunity very largely 
 to his collection. Rubens had previously collected many draw- 
 ings of the Italian school, but as he mostly wrought upon them, 
 they have to a certain extent lost their individuality, and merged 
 into examples by his hand. Vandyke occasionally did the same. 
 
 Riley formed a large collection, which Richardson inherited 
 by marriage with a relative of the artist. 
 
 Talman, son of the architect, formed his collection chiefly 
 during a residence in Italy. 
 
 Howard had several fine drawings, now at Chatsworth. 
 
 Jervais was another who, with wealth and opportunity, formed 
 a splendid collection, which was sold in 1741. Richardson's sale 
 of 4749 examples extended over eighteen days, many of them 
 being purchased by his son-in-law Hudson ; and Reynolds, the 
 pupil of Hudson, in like manner bought a great many specimens 
 at Hudson's sale. Sir Joshua's drawings were sold by auction 
 after his death, and many were bought by and added to the 
 collection of Benjamin West, whose collection again in turn came 
 to the hammer. 
 
 Cosway and Otley formed collections, the latter having pur- 
 chased at Florence the drawings consigned there by Vicars. It 
 may not be out of place to remark, that the Chevalier Vicars, for 
 his excellent judgment, was employed by the French Government 
 during the invasion of Italy, to select such pictures as he con- 
 sidered worthy of the French nation. This gave him introduction 
 to all the collections, public and private ; and as drawings and 
 
VI 
 
 PREFACE. 
 
 sketches were not included in his instructions, he contrived to 
 do considerable business in this way upon his own account. But 
 the choicest collection ever formed was that made by Sir Thomas 
 Lawrence at a cost of upwards 70,000/. It contained 5000 
 examples, 3500 of which were of the choicest character. Un- 
 fortunately, in an evil hour, 1 500 examples, set apart as of a 
 secondary character, or to be excluded altogether, got incorpo- 
 rated with them, much to the deterioration of the collection. 
 An estimate of the value, which drawings and sketches are to the 
 arts of a country, will be seen in the fact, that all these collections 
 were made by the most eminent artists of the day, among them 
 three Presidents of the Royal Academy, and that the drawings, like 
 a heirloom, have regularly descended to our own period. Hence 
 it is, that while many of the pictures of which they were the 
 parents have ceased to exist, they still live and preserve a spirit 
 and freshness, that keeps alive the reputation of their great authors. 
 
 Other collections have been formed in England, such as the 
 Duke of Devonshire's, at Chatsworth ; the collection at Windsor, 
 which, when inherited by her Majesty, was contained in fifty 
 volumes. Dr. Mead had a numerous collection. Charles Rogers' 
 sale occupied nine days ; Fagel's, six ; that of General Morrison, 
 to whom Mr. Kimpton had bequeathed his collection, ten days. 
 John Burnard's collection contained 1700 examples; and Lord 
 Spencer's sold for upwards of 1330/.; not to mention those of 
 Lord Pembroke, Mr. Pond, &c. 
 
 The enterprise of taste and trade has contributed largely to 
 the introduction of this description of works of art into England. 
 The Padre Resta, whose portrait Carlo Maratti etched looking 
 at a drawing, formed a fine collection, which afterwards be- 
 longed to the Bishop of Urezzo. This collection Lord Somers, 
 when ambassador at Naples, purchased and brought to England. 
 Benedetto Luti's collection, of nearly 1500 drawings, was bought 
 and brought to England by Mr. Kent. Mr. Bouverie bought, from 
 the descendants of Guerchino, the drawings that had remained in 
 their possession since that artist's death. They are exceedingly 
 fine, and may be known by his mark upon them — a small B. The 
 Messrs. Woodburne purchased from the Marquis Vinde', for 5000/., 
 
PREFACE. 
 
 vii 
 
 the celebrated Digonville collection, as they also did that of Count 
 Legoy's small but choice collection of 138 drawings ; and the 
 remainder of Vicars' drawings, which he had in Paris. All these 
 they sold to Mr. Dimsdale, and at that gentleman's death they were 
 dispersed. It will be seen that most of the fine collections have 
 found their way to this country, and to a great extent still remain 
 with us, locked up in private collections ; for, except a few in the 
 British Museum, they are a dead letter to the British public ; and 
 it forms a just complaint against the authorities of our public 
 exhibitions, that while the drawings of the great masters of old 
 form one of the leading features in the Louvre, there is hardly a 
 solitary example to be seen publicly in England. 
 
 Mr. Mayor, who formed the present collection, has done so 
 under very favourable opportunities. In early life his love for 
 art caused him to place himself in the studio of Haydon, at that 
 time considered the most prominent historical painter of the day. 
 Here he formed a friendship with his fellow-pupils, the Land- 
 seers, W. Bewick, and George Lance ; men whose works are held 
 in the greatest estimation. His instruction under Haydon led him 
 to see and appreciate the importance which drawings by the old 
 masters were to one seeking information ; and desiring to mature 
 his judgment, he journeyed to the Continent. 
 
 An introduction, shortly after his return, to Sir Thomas Law- 
 rence (who complimented him upon his discrimination, showed 
 him a portion of his own collection, and desired to possess some 
 of the sketches he had purchased), appears to have had its influ- 
 ence upon his future movements, for from that period, for half-a- 
 century all but two years, he devoted his entire attention to this 
 one pursuit. Thus, with an artist's education, an eye most sensitive 
 to originality of execution, and time and means at his command, for 
 purchasing and acquiring an acquaintance with the several masters, 
 he became, both at home and abroad, where he spent much of his 
 time, an authority on the subject, and unquestionably his influence 
 was very great. As a matter of course, in forming the present 
 collection he acquired a vast number of examples which he did 
 not care to keep. These he disposed of, making no secret of 
 their not belonging to his private collection. 
 
PREFACE. 
 
 His death now renders it necessary that the entire collection 
 should be sold, it has, therefore, been catalogued, and the addi- 
 tions marked with an asterisk. 
 
 J. H. 
 
 96 Mount Street, Grosvenor Square, 
 June, 1875. 
 
jFIorentine, JJm&nan, ano Eoman Reboots. 
 
 GIOVANNI CIMABUE. 
 
 Natus 1240. Obit 1300. 
 
 1. The Nativity of our Saviour. An illuminated drawing in colours 
 
 and gold on vellum, cut from a choral Missal. 
 H. 6f in. W. Sl in. 
 
 THIRTEENTH CENTURY. 
 
 2. The Crucifixion of our Saviour. To the right are the two 
 
 Maries, on the left a man is piercing our Saviour with a 
 spear, in front of whom stands a quaintly dressed figure, 
 who is pointing up at the cross. In a medallion at the foot 
 is a curious representation of the Resurrection, and the 
 date 1200. In colours on vellum heightened with gold. 
 H. 12 in. W. 6| in. 
 Ex Collection Count Gelozzi or Gelosi of Genova. 
 
 GIOTTO DI BONDONE. 
 Nat. 1276. Ob. 1336. 
 
 3. The Crucifixion of our Saviour. A draped figure standing on 
 
 each side of the cross. Pen and bistre on parchment, 
 H. 3I in. W. 2-f in. 
 
 DONATELLO. 
 Nat. 1383. Ob. 1466. 
 
 4. The Crucifixion of the Saviour. This drawing has been alter- 
 
 nately ascribed to Donatello and Michel Angelo, but is 
 more probably by the hand of Raffaelle in his latest and 
 grandest manner, possessing neither the rigidity nor the an- 
 
2 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 gularity of form of Donatello, nor the exaggerated develop- 
 ment of muscle of Michel Angelo; but, on the contrary, pos- 
 sesses all the charms of simplicity and grace of Raffaelle, 
 especially in the contour of the figure of Mary Magdalen at 
 the foot of the cross ; moreover, there is a divine impress of 
 majesty and resignation in the head and figure of Christ, 
 which none but the hand of RafTaelle could so well express. 
 Reed pen and bistre. 
 
 H. 13! in. W. 8 in. 
 
 DONATELLO. 
 
 5 . A study for a full-length figure of an Evangelist. Pen and 
 
 bistre. 
 
 H. 151 in. W. 7 f. " 
 
 Ex Collection Sir Joshua Reynolds and Sir Thomas Lawrence. 
 
 FRA GIOVANNI ANGELICO, da Fiesole. 
 Nat. 1387. Ob. 1445. 
 
 6. A study of a Monk. Close by it is another study of the same 
 
 head. Sepia, heightened with white on a green ground. 
 H. 8' in. W. 5f in. 
 
 MASO DA SAN GIOVANNI (detto Masaccio). 
 
 Nat. 1401. Ob. 1443. 
 
 7 . Portrait of an elderly man, wearing a cap, in the costume of 
 
 the fifteenth century. Silver point, heightened with white 
 on a red ground. 
 
 H. 1 1| in. W. 8£in. 
 
 ANDREA MANTEGNA. 
 
 Nat. 1431. Ob. 1506. 
 
 8. A design for part of the picture of the Triumphal Procession 
 
 of Julius Caesar at Hampton Court Palace. Fine pen and 
 bistre, heightened with white. 
 
 H. 9f in. W. %\ in. 
 Ex Collection William Esdaile and Sir Thomas Lawrence. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 3 
 
 * ANDREA MANTEGNA. 
 
 9. Study of a group of Roman Armour ; on the reverse, a study 
 
 of drapery for the figure of a man holding a book (St. 
 John). Engraved by Campagnola. Pen and bistre. 
 H. 6§ in. W. 9* in. 
 
 * ANDREA MANTEGNA. 
 
 10. A Bacchanalian Dance. A group of three females, a man 
 
 and boy, are dancing with musical instruments around 
 the statue of Bacchus. A child leads the procession hold- 
 ing a lotus flower, and the rear is formed by an unseen 
 figure carrying a vine-pole. Pen and bistre, washed. 
 H. 10 in. W. 7f in. 
 Ex Collection J. P. Zoomes and Sir Thomas Lawrence. 
 
 DONATO LAZZARI (detto Bramante d'Urbino). 
 Nat. 1444. Ob. 1 5 14. 
 
 11. Study of a full-length Female Figure draped. Bistre, heightened 
 
 with white on grey paper. 
 
 H. i 3 £ in. W. 9 \ in. 
 
 LEONARDO DA VINCI. 
 Nat. 1445. Ob. 1520. 
 
 12. A study for the Head of a Philosopher. Metal point, height- 
 
 ened with white on a prepared ground. 
 
 H. si in. W. 4$ in. 
 
 LEONARDO DA VINCI. 
 
 13. A study of Horses for the unfinished cartoon of the Battle for 
 
 the Standard. Pen and bistre. 
 
 H. ni in. W. iSiin. 
 
 Ex Collection Lord Arundel and Sir Peter Lely. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 LEONARDO DA VINCI. 
 
 4. A Caricature Head of an Old Woman. Pen and bistre. 
 H. sf in. W. 4 i in. 
 
 LEONARDO DA VINCI. 
 
 5. Study for the Head of an Apostle, in the picture of the Last 
 Supper, probably intended for Judas Iscariot. Red chalk. 
 H. 6f in. W. 4 £ in. 
 
 * LEONARDO DA VINCI. 
 
 6. Study of four Heads. Pen. 
 
 H. 4 £ in. W. 5£ in. 
 
 PIETRO VANNUCCI (detto Pietro Perugino). 
 
 Nat. 1446. Ob. 1524. 
 
 7. Study for the Figure of St. Augustin, holding a book in one 
 
 hand and a crosier in the other. Metal point, heightened 
 with white on grey paper. 
 
 H. 9l in. W. 7| in. 
 
 PIETRO VANNUCCI (detto Pietro Perugino). 
 
 8. A Study for the Figure of Scipio, painted in fresco in the 
 
 College of Nobles at Perugia. Fine pen and bistre. 
 
 H. 8f in. W. 6£ in. 
 
 On the reverse are studies of ornaments. 
 
 * PIETRO VANNUCCI (detto Pietro Perugino). 
 
 9. St. Peter praying. Pen and bistre of Count Gelozzi. 
 
 H.7^in- W. 43 in. 
 
 Ex Collection Count Gelozzi. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 5 
 
 * PIETRO VANNUCCI (detto Pietro Perugino). 
 
 20. Study of two figures (Philip baptizing the Eunuch). The 
 
 figures are both kneeling and in the act of prayer. A 
 similar study is engraved by Leroy, and attributed to 
 Raffaelle. Pe?i and bistre. 
 
 H. 7f in. W. 6\ in. 
 
 LORENZO SCIARPELLONI (detto Lorenzo di Credo). 
 
 Nat. 1449. Ob. 1536. 
 
 21. A Study for the Head of a Young Man looking upwards. 
 
 Silver point, heightened with white. 
 
 H. 8£ in. W. ft in. 
 
 Ex Collection Charles Rogers. 
 
 LORENZO SCIARPELLONI (detto Lorenzo di Credo). 
 
 22. Portrait of a Young Man with a hat on. Silver point, height- 
 
 ened with white on a prepared ground. 
 
 H. 9 in. W. 5| in. 
 
 * LORENZO SCIARPELLONI (detto Lorenzo di Credo). 
 
 23. Head of a Female, executed with a metallic point upon pre- 
 
 pared paper of an umber colour. 
 
 H. 7| in. W. 5| in. 
 
 BERNARDINO PINTURICCHIO. 
 Nat. 1454. Ob. 15 13. 
 
 24. A Study for the Figure of an Angel. Silver point, heightened 
 
 with white on a prepared groimd. 
 
 H. 8£ in. W. Sl in. 
 On the reverse, a study for a draped figure of a Man wearing a hat, same 
 style. 
 
 FIFTEENTH CENTURY. 
 25 , A large ornamental initial letter, in which is represented 
 St. Francis on his knees, receiving the stigmata. Octa- 
 gon. In colours on vellum, heightened with gold. 
 H. 5f in. W. 5| in. 
 
6 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 * BELTRAFFIO GIO ANTONIO (of Milan). 
 
 Nat. 1463. Ob. 1 5 16. 
 
 26. The Salvator Mundi. Black chalk o?i grey paper, heightened 
 
 with white. 
 
 H. 14! in. W. 9 in. 
 
 BACCIO DELLA PORTA (detto Fra Bartolommeo di 
 San Marco). 
 
 Nat. 1469. Ob. 15 1 7. 
 
 27. Study for the Figure of an Angel holding a lily in her 
 
 hand. This figure is introduced in the picture of the 
 Annunciation to the Virgin. On the reverse is a sketch 
 of a female figure, probably intended for the Virgin Mary. 
 Fine pen and bistre. 
 
 H. 6f in. W. \\ in. 
 
 * BACCIO DELLA PORTA (detto Fra Bartolommeo di 
 San Marco). 
 
 28. The Virgin and Elizabeth with the Children Jesus and John. 
 
 The Virgin is seated in the centre of the picture with 
 Jesus standing on her lap; an Angel on each side 
 holding a canopy above her; beneath the Angel on the 
 right is Elizabeth with St. John, and on the other side a 
 female with children in adoration. Pen and bistre. 
 H. 9I in. W. 7f in. 
 
 BACCIO DELLA PORTA (detto Fra Bartolommeo di 
 San Marco). 
 
 29. A Study for a Madonna and Child. Fine pen and bistre. 
 
 H. Sf in. W. 5| in. 
 
 BACCIO DELLA PORTA (detto Fra Bartolommeo di 
 San Marco). 
 
 30. The Virgin holding the Infant Saviour on her knees, and an 
 
 angel kneeling at her feet. Fine pen and bistre, heightened 
 with white. 
 
 H. 6 in. W. 7g in. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 1 
 
 BACCIO DELLA PORTA (detto Fra Bartolommeo di 
 San Marco). 
 
 31. A Study for a Female Figure kneeling. Black chalk, height- 
 
 ened with white. 
 
 H. io| in. W. 5f in. 
 
 Ex Collection Sir Peter Lely, Jonathan Richardson, and Richard Cosway. 
 
 On the back of the mount of this drawing is an extract from ' Vasari's 
 Lives ' in Jonathan Richardson's handwriting. 
 
 BACCIO DELLA PORTA (detto Fra Bartolommeo di 
 San Marco). 
 
 32. Study for a Picture representing the Virgin Mary, the Infant 
 
 Saviour, St. John, and other figures. An angel holds a 
 crown over the head of the Virgin. In the upper part of 
 the paper is a more finished study of a figure kneeling. 
 On the reverse is another study of two figures. Pen and 
 bistre, heightened with white on tinted paper. 
 
 H. 8f in. W. 6 in. 
 
 BACCIO DELLA PORTA (detto Fra Bartolommeo di 
 San Marco). 
 
 33. A Study of a head of a young Female. Black chalk. 
 
 H. iof in. W. 8 in. 
 
 BACCIO DELLA PORTA (detto Fra Bartolommeo di 
 San Marco). 
 
 34. Portrait of a Man. Black chalk, heightened with white. 
 
 H. iof in. W. 8^ in. 
 
 Ex Collection Nathaniel Hone. 
 
 *TIMOTHEO D'URBINO (detto Timotheo della Vite). 
 
 Nat. 1470. Ob. 1524. 
 
 35. A Lion Hunt. Study from a bas-relievo. Grey wash on 
 
 blue paper, heightened with white. 
 
 H. 9I in. W. 16 J in. 
 
 Ex Collection T. Hudson. 
 
8 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 *TIMOTHEO D'URBINO (detto Timotheo della Vite). 
 
 36. The Holy Family, visited by the Shepherds. Pen and sepia, 
 
 washed. 
 
 H. 10J in. W. 8£ in. 
 
 MICHELANGIOLO BUONAROTI. 
 Nat. 1474. Ob. 1564. 
 
 37. A Study for the sitting Figure in armour on the Tomb of 
 
 Lorenzo de Medici at Florence. Black chalk. 
 H. iog in. W. 61 in. 
 Ex Collection Sir Joshua Reynolds and Richard Cosway. 
 
 MICHELANGIOLO BUONAROTI. 
 
 38. A Study for the Sibyl Tiburtino, in red chalk. Painted in 
 
 fresco in the Capella Sistina at Rome. On the reverse of 
 this drawing are several slight sketches in red chalk of 
 other figures painted in the same chapel. 
 
 H. 16 in. W. 11 in. 
 Ex Collection Mr. Duroveray. 
 
 MICHELANGIOLO BUONAROTI. 
 
 39. A Study for an expression of Terror. Black chalk, heightened 
 
 with white. 
 
 H. I2f in. W. 8| in. 
 
 MICHELANGIOLO BUONAROTI. 
 
 40. The Portrait of Cosmo di Medici. Red chalk. 
 
 H. 5f in. W. 4 in. 
 
 BALDASSARE PERUZZI. 
 Nat. 1481. Ob. 1536. 
 
 41. The Nativity, with the Adoration of the Shepherds, a compo- 
 
 sition of thirteen figures. Pen, washed with bistre, and 
 heightened with white. Framed. 
 
 H. 15^ in. W. 2o\ in. 
 Ex Collection Benjamin West and Sir Thomas Lawrence. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 9 
 
 * BENEVUTO TISI (detto il Garofalo). 
 
 Nat. 1481. Ob. 1559. 
 
 42. The Entombment. The dead body of the Saviour is sup- 
 
 ported by two angels, and at the Tomb are two other 
 angels with lighted flambeaux waiting to receive it. The 
 Mother of Jesus, fainting, is upheld by one of the Marys ; 
 at her left is the Magdalen in an agony of grief ; on the 
 foreground a basket containing implements; and in the 
 distance a view of Jerusalem. Blue paper and Indian ink, 
 wash heightened with white. 
 
 H. 9! in. W. 7f in. 
 
 BENEVUTO TISI (detto il Garofalo). 
 
 43. A composition of several figures for the picture of the Betrayal 
 
 of Christ. Bistre, heightened with white on a blue ground. 
 
 H. 8f in. W. iof in. 
 
 Ex Collection Paul Sandby and Sir Thomas Laurence. 
 
 GIULIO PIPPI (detto Giulio Romano). 
 
 Nat. 1482. Ob. 1546. 
 
 44. A group of four Allegorical Figures, one of which represents 
 
 Pluto holding his two-pronged Sceptre ; in front of him 
 stand three others, one of whom is dressed in the costume 
 of a Roman Warrior. Pen and sepia, heightened with 
 white. 
 
 H. io± in. W. gi in. 
 
 Ex Collection Lord Spencer and Robert Hilditch. 
 
 GIULIO PIPPI (detto Giulio Romano). 
 
 45. A Study, being part of a composition for the picture of the 
 
 Wise Men's Offering. Pen and bistre. 
 
 H. ui in. W. i6£ in. 
 
 Ex Collection Sir Peter Lely and Baron Denon, 
 
iO 
 
 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 GIULIO PIPPI (detto Giulio Romano). 
 
 46. A Study for the figures of Perseus slaying Medusa. In the 
 
 foreground is seen the horse Pegasus springing from the 
 blood which flows from the head of Medusa. Pen and 
 
 bistre, heightened with white, 
 
 H. g\ in. W. \o\ in. 
 
 Ex Collection Thomas Hudson. 
 
 GIULIO PIPPI (detto Giulio Romano). 
 
 47. A sheet of Studies of Bacchus and other figures. On the 
 
 reverse other sketches. Pen and ink. 
 
 H. 13! in. W. 9f in. 
 
 Ex Collection Sir P. Lely and Joitathan Richardson. 
 
 GIULIO PIPPI (detto Giulio Romano). 
 
 48. An Allegorical Composition representing various Monsters in 
 
 the infernal regions, one of which, in the form of a vulture, 
 is offering to Psyche a cup of water from the Styx. Bistre 
 heightened with white, on a dark ground. 
 
 H. %i in. W. 14I in. 
 
 Ex Collection John Macgowan. 
 
 This drawing forms one of a series representing the story of Psyche, 
 painted by G. Romano and his pupils, net Palazzo del T. at Mantua. 
 
 * GIULIO PIPPI (detto Giulio Romano). 
 
 49. A mounted warrior, seated upon a prancing horse, in the act 
 
 of throwing a javelin. Pen and bistre, heightened with 
 white. 
 
 H. g\ in. W. 10} in. 
 
 Ex Collection Thomas Hudson. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS, u 
 
 * GIULIO PIPPI (detto Giulio Romano). 
 
 50. Marcus Attylius Regulus, the Roman General, put to death 
 
 by the Carthaginians. A group of soldiers, with varied 
 expression, are superintending the execution; while the 
 workmen, without remorse or pity, are driving nails into 
 the cask wherein the General is to expiate the offence of 
 refusing to make peace between the Carthaginians and the 
 Romans. Bistre. 
 
 H. 13^ in. W. 1 if in. 
 Ex Collection Lord Spencer. 
 
 * GIULIO PIPPI (detto Giulio Romano). 
 
 51. The Death of Ahab. The king is represented at the moment 
 
 when the arrow, shot at a venture, has reached its desti- 
 nation. He is falling from the chariot, to the consterna- 
 tion of Jehoshaphat ; an armour-bearer is warding off the 
 attack, and a soldier supports the falling monarch. Four 
 horses are attached to the car, and with a banner-bearer 
 and two soldiers complete the composition, which is drawn 
 upon the segment of a circle. Pe?i and bistre, washed with 
 a semi-opaque umber. 
 
 H. 10 in. W. 13I in. 
 
 Ex Collection P. H. Lankrink and Duke of Devonshire. 
 
 * GIULIO PIPPI (detto Giulio Romano). 
 
 52. Constantine presenting the City of Rome to the Pope (called 
 
 the donation). The Pope is seated under a canopy raised 
 from the pavement of a magnificent temple by four steps ; 
 the Emperor, kneeling before him on one knee, offers a 
 small image representing Rome, which the Pope receives 
 with one hand while giving the benediction with the other. 
 Behind the Emperor kneel two ecclesiastics, and behind 
 them two officers of the Court, one kneeling upon one 
 
12 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 knee, the one nearest holding an instrument like a trumpet 
 in his left hand. A few soldiers with halberts attend upon 
 the Emperor, and a few ecclesiastics attend upon the 
 Pope; the rest of the figures are chiefly spectators. A 
 nobleman, seated at the right of the drawing, imitates the 
 Emperor's, humility by directing a lame beggar's attention 
 to what is going on. Conspicuously in the foreground, a 
 naked boy sits across a dog, or probably a wolf, perhaps 
 in allusion to the foster-mother of Romulus and Remus. 
 See note on back of the drawing. Bistre wash. 
 H. 16 in. W. 22 in. 
 
 RAFFAELLE SANZIO D'URBINO. 
 
 Nat. 1483. Ob. 1520. 
 
 5^. A Study for the two Figures of Hercules and Omphale in the 
 mythological picture of ' The Feast of the Gods.' Painted 
 in fresco in the Farnesina Palace at Rome for Prince 
 Ghigi. Red chalk. 
 
 H. 9 in. W. %\ in. 
 
 * RAFFAELLE SANZIO D'URBINO. 
 
 54. Study for one of the figures in the death of Ananias. 
 A portion of the cartoon in reverse. Coloured chalks. 
 
 H. 2of in. W. 14! in. 
 
 RAFFAELLO SANZIO D'URBINO. 
 
 55. Study of a young Man, kneeling in the attitude of prayer. 
 On the reverse another sketch. Pen and ink. 
 
 H. 71 in. W. Si in- 
 
FLORENTINE, [7MB R IAN, AND ROMAN SCHOOLS. 13 
 
 RAFFAELLO SANZIO D'URBINO. 
 
 56. A sheet of Studies of five Figures, one of them a female 
 holding a small box, probably intended to represent Mary 
 Magdalen with the box of spikenard. By her side is the 
 figure of a man's head with a cap on, and raised hands. 
 The other studies represent the portrait of a young female 
 wearing a hat and feather, and two elderly females ; one 
 of them appears to be counting her rosary. On the 
 reverse another study. Silver point, heightened with white 
 on prepared paper. 
 
 H. ill in. W. 7fin. 
 Ex Collection Brother of the King of Naples and Dr. Wellesley. 
 
 RAFFAELLO SANZIO D'URBINO. 
 
 57. A portrait of Pope . Black chalk. 
 
 H. 10 in. W. 6f in. 
 
 On the back of this drawing Richardson has written the following words : 
 ' In the King of France's Collection there is another portrait of this 
 same Pope done in the same manner in small size (see my account).' 
 In referring to his account : ' The head of the same Pope my father 
 has, very good ; 'tis half as big as the life.' 
 
 Ex Collection Jonathan Richardson and Lord Arundel. 
 
 * RAFFAELLO SANZIO D'URBINO. 
 
 58. Studies for the Heavenly host. Pen and bistre. 
 
 H. 5 in. W. 6| in. 
 
 Ex Collection Robert Udney. 
 
 RAFFAELLO SANZIO D'URBINO. 
 
 59. The Birth of St. John. A composition consisting of eight 
 figures. Bistre, heightened with white. 
 
 H. \2\ in. W. 8f in. 
 
 Ex Collection Sir Peter Lely and William Esdaile. 
 
14 FLORENTINE, UMBRIAN % AND ROMAN SCHOOLS. 
 
 RAFFAELLO SANZIO D'URBINO. 
 
 60. Study for the Resurrection. Pen and bistre. 
 
 H. 6§ in. W. 4I in. 
 
 Ex Collection Paul Sanby and Richard Cosway. 
 
 * RAFFAELLO SANZIO D'URBINO. 
 
 61. Stoning St. Stephen. A group of six men, with the young 
 
 St. Paul, are stoning the saint, who is in the act of implor- 
 ing pardon for his murderers. Pen and bistre wash. 
 
 H. 9f in. W. 8| in. 
 
 * RAFFAELLO SANZIO D'URBINO. 
 
 62. St. Peter seated in a Temple. Peter holds a book open with 
 
 his left hand, a long straight sword rests between his right 
 arm and shoulder ; the face is turned in the same direction 
 to which his forefinger points; a nimbus over his head; 
 and in the distance are the remains of blue with which the 
 sky had been coloured. Oval bistre wash. 
 
 H. 9 in. W. 6£ in. 
 
 BARTOLOMMEO RAMENGHI (detto II Bagnacavallo). 
 Nat. i486. Ob. 1542. 
 
 63. The Virgin Mary, attended by angels, in the presence of the 
 
 Almighty. At the foot are Saint Jerome, Saint Gregory 
 (the Pope), Saint Augustin, and Saint Ambrose. Bistre, 
 heightened with white. 
 
 H. 26 in. W. 16 in. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 15 
 
 * BANDINELLI BACCIO. 
 
 Nat. 1487. Ob. 1559. 
 
 64. Andromeda. She is represented standing against a rock, 
 upon which she leans, with her left hand holding her right 
 arm. Over her shoulders loose drapery falls behind her 
 back, supported by a band across her breast. Pen and 
 bistre. 
 
 H. 15 in. W. 7| in. 
 
 * BANDINELLI BACCIO. 
 
 65. A Study for the Figure of Moses descending from Mount 
 Sinai, holding in one hand the Tables of the Law. Broad 
 reed pen and bistre. 
 
 H. 15} in. W. 7| in. 
 
 GIOVANNI FRANCESCO PENNI (detto il Fatore). 
 
 Nat. 1488. Ob. 1528. 
 
 66. Diana and her Nymphs bathing, surprised by Actaeon. Pen 
 and bistre washed^ on a red ground. 
 
 H. 9| in. W. 8£ in. 
 
 Ex Collection Thomas Dimsdale. 
 
 GIOVANNI FRANCESCO PENNI (detto il Fatore). 
 
 67. Diana and her Nymphs bathing. Pen and bistre. 
 
 H. Q>\ in. W. 13^ in. 
 
 * GIOVANNI FRANCESCO PENNI (detto il Fatore). 
 
 68. An Entombment. Two men bear the body in a sheet, 
 
 preceded by men carrying torches, and a female with 
 a cross elevated, to a tomb on the right of the drawing. 
 A Temple with columns is on the opposite side, and on 
 
16 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 the steps stand two men in prayer; beside one of the 
 columns are children, and at the base is an elderly man 
 and a woman with an expression of grief; on the fore- 
 ground are complements of the interment. Pen and 
 bistre washed, and heightened with white. 
 
 H. 1 6 in. W. \o\ in. 
 Ex Collection J. P. Zoomes. 
 
 * GIOVANNI FRANCESCO PENNI (detto il Fatore). 
 
 69. The Marriage at Cana. The bridegroom is seated between 
 
 the bride and the Mother of Jesus ; the latter is ad- 
 dressing her son, who with the governor of the feast are 
 at each end of the table, the governor pointing to the 
 six waterpots containing the good wine, some of which a 
 I servant behind him is in the act of pouring out. In the 
 distance, partly concealed by a column, is a table with 
 other guests assembled. Pen and wash, upon grey paper, 
 heightened with white. 
 
 H. 10J in. W. 13^ in. 
 
 GIOVANNI FRANCESCO PENNI (detto il Fatore). 
 
 70. Jupiter and Juno reposing on a Couch, attended by Cupids. 
 
 Pen and Indian ink, heightcjied with white. (See back.) 
 H. 17 in. W. 15I in. 
 
 Ex Collection John Barnard and Sir Thomas Lawrence. 
 
 ANDREA VANUCCHI (detto Andrea del Sarto). 
 
 Nat. 1488. Ob. 1530. 
 
 71. A Portrait of the celebrated Dominican Friar and Preacher 
 
 Jerome Savonarola, in his monastic costume, in the fervent 
 and expressive attitude of expounding some divine truth. 
 Red chalk. 
 
 H. 1 5f in. W. SI in. 
 
 As the artist and the monk were both living in Florence at the same 
 period, Andrea had ample opportunities of studying the habitual atti- 
 tude and gesture of this renowned preacher and reformer. 
 
FLORENTINE, UMBRLAN, AND ROMAN SCHOOLS. 17 
 
 ANDREA VANUCCHI (detto Andrea del Sarto). 
 
 72. A Study for a full-length Figure of an Apostle, draped. Red 
 
 chalk. 
 
 H. \% in. W. 8 in. 
 
 * ANDREA VANUCCHI (detto Andrea del Sarto). 
 
 73. Study of a Nun looking upwards, with loose drapery hanging 
 
 over her head and falling on to her shoulders. Black 
 chalk. 
 
 H. 9f in. W. 6| in. 
 
 * ANDREA VANUCCHI (detto Andrea del Sarto). 
 
 74. A Female carrying a Cuirass upon her shoulder. Black 
 
 chalk. 
 
 H.I if in. W. 4|in. 
 
 MATURINO (of Florence). 
 
 Nat. 1490. Ob. 1528. 
 
 75. A sheet of Studies of ancient Roman Armour and Military 
 
 Weapons. Pen and bistre, drawn on both sides. 
 
 H. I2§ in. W. 9 in. 
 
 * LIGORI PIERO. 
 Nat. 1493. Ob. 1573. 
 
 76. An Allegorical subject, representing five women, two of whom 
 
 are holding the reins for the mouth of an ass ; one female 
 carries an amphora, which another appears waiting to 
 receive; a fifth woman is seated upon the ground, con- 
 veying instructions in connexion with the reins ; and 
 at the back of her is an old man with a bill, cutting 
 a branch from a tree. Pen and bistre washed, heightened 
 with white, upon an umber colour. 
 
 H. 9l in. W. 13I in. 
 
 C 
 
8 
 
 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 JACOPO CARUCCI (detto il Pontormo). 
 
 Nat. 1493. Ob. 1558. 
 
 77. The Entombment of Jesus Christ. Pen a?id bistre, washed 
 
 with indigo. 
 
 H. 7f in. W. 7| in. 
 
 GIOVANNI NANNI (detto Giovanni da Udine). 
 
 Nat. 1494. Ob. 1564. 
 
 78. A Sheet of Arabesque Ornaments. Pen and sepia washed, 
 
 with a slight tint of indigo. 
 
 H. %\ in. W. 7| in. 
 
 GIOVANNI NANNI (detto Giovanni da Udine). 
 
 79. A Sheet of Arabesques designed for the decoration of one of 
 
 the walls of the Vatican, and afterwards painted thereon 
 in fresco. Pen and bistre. 
 
 H. io| in. W. 7| in. 
 
 * GIOVANNI NANNI (detto Giovanni da Udine). 
 
 80. Two Designs, on the same sheet, for an Arabesque Apart- 
 
 ment. The room on the left of the drawing represents a 
 panelled wall, upon which is painted, in the largest com- 
 partment, a mountainous landscape ; in the next, upon an 
 oval ground, is a figure of Pomona; and over the land- 
 scape is a small panel with Venus and Cupid, Venus being 
 a transcript of Michael Angelo's. The wall on the right is 
 of an opposite character, light and elegant, consisting of a 
 canopy, under which are two statues, the walls being 
 decorated with a griffin, scrolls, lyrial, instruments, &c. 
 Pen and bistre washed. 
 
 II. 6 in. W. gi in. 
 Ex Collection Marielte and De Fries. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 19 
 
 GIOVANNI NANNI (detto Giovanni da Udine). 
 
 81. A Sheet of Arabesque Ornaments, with the figure of Minerva, 
 
 armed with a spear, in the centre. Pen and sepia. 
 H. iof in. W. 8f in. 
 
 GIOVANNI NANNI (detto Giovanni da Udine). 
 
 82. A Study of an Antique Vase. Pen and bistre. 
 
 H. n| in. W. 7| in. 
 
 Ex Collection Richardson. 
 
 GIOVANNI NANNI (detto Giovanni da Udine). 
 
 83. Two Candelabra. Pen and bistre. 
 
 H. 12 in. W. 7£ in. 
 
 GIOVANNI NANNI (detto Giovanni da Udine). 
 
 84. A Sheet of Studies of Arabesque Ornaments, comprising a 
 
 Vase and divers other figures, drawn on both sides. Pen 
 and sepia. 
 
 H. 11 J in. W. 8Jin. 
 
 GIOVANNI NANNI (detto Giovanni da Udine). 
 
 85. A Sheet of Arabesque and other Ornaments, friezes, &c. 
 
 Pen and bistre. 
 
 H. 13I in. W. 9I in. 
 
 GIOVANNI NANNI (detto Giovanni da Udine). 
 
 86. A Sheet of Arabesque Ornaments and Emblematical Figures. 
 
 Pen and bistre. 
 
 H. 13 in. W. 152 in. 
 
 Ex Collection Crozat and Sir Joshua Reynolds. 
 
 POLIDORO CALDARA (da Caravaggio). 
 Nat. 1495. Ob. 1543. 
 
 87. Moses showing the Tables of the Law to the Jews on Mount 
 
 Sinai. Pen and bistre washed, heightened with white. 
 H. 8| in. W. 6| in. 
 
2o FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 POLIDORO CALDARA (da Caravaggio). 
 
 88. A Group of Roman Warriors round an Altar. Pen and bistre, 
 
 heightened with white. 
 
 H. I2| in. W. 8f in. 
 
 Ex Collection Sir Peter Lely, Earl of Arundel, and Paul Sanby. 
 
 POLIDORO CALDARA (da Caravaggio). 
 
 89. A design of an Antique Vase. Pen and bistre, heighte?ted 
 
 with white on blue paper. 
 
 H. 5| in. W. 8f in. 
 
 Ex Collection Nathaniel Hone. 
 
 POLIDORO CALDARA (da Caravaggio). 
 
 90. An Allegorical Composition, representing Abundance. In 
 
 the centre is a shield, on which are the Three Graces, 
 supported by five boys. Bistre, heightened with white. 
 H. 9 in. W. io| in. 
 
 POLIDORO CALDARA (da Caravaggio). 
 
 91. A Study for part of the Battle of Constantine, after Raffaelle. 
 
 Bistre, heightened with white, by Rubens. 
 
 H. i6| in. W. 10 in. 
 
 POLIDORO CALDARA (da Caravaggio). 
 
 92. An historical Composition of Seven Figures. Pen and bistre. 
 
 H. 8j in. W. I2f in. 
 On the reverse a study of a draped male figure in chalk. 
 
 POLIDORO CALDARA (da Caravaggio). 
 
 93. The Rape of Helen. The Burning of Troy is represented in 
 
 the background. Pen and bistre, heightened with white. 
 
 H. 12 in. W. 15b in. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 * POLIDORO CALDARA (da Caravaggio). 
 
 94. A Triumphal Procession. Copied from a bas - relief. Pen 
 
 and bistre wash, 011 brown paper, heightened with white. 
 H. 7f in. W. 2\\ in. 
 
 * POLIDORO CALDARA (da Caravaggio). 
 
 95. Shields and Vases. Two vases stand before a plain and 
 
 ornamented shield, placed on each side of a toga sup- 
 porting armour. Pen and bistre wash. 
 
 H. 6 in. W. 8$ in. 
 
 * POLIDORO CALDARA (da Caravaggio). 
 
 96. Study for the Tomb of a Warrior. Pen and ink, 
 
 H. 8f in. W. 6£ in. 
 
 Ex Collection Sir P. Lely and Richardson. 
 
 GIORGIO GIULIO CLOVIO. 
 
 Nat. 1498. Ob. 1578. 
 
 97. A design for one of the compartments in the Palazzo del T., 
 
 at Mantua, representing the loves of Cupid and Psyche, 
 painted by Giulio Romano. On either side the group of 
 Cupid and Psyche are two pilasters, surmounted with 
 figures and emblematical ornaments. Bistre^ heightened 
 with gold on a buff ground. 
 
 H. n£ in. . W. i6£ in. 
 Ex Collection Ploos van Amstel. 
 
 *PENNI LUCCA. 
 Nat. 1500. 
 
 98. A Boy's Head in the Triumph of Galatea, after Raffaelle. 
 
 Bistre wash. 
 
 H. % in. W. 7 in. 
 
 Ex Collection Sir Joshua Reynolds. 
 
22 FLORENTINE, UMBRIAN. AND ROMAN SCHOOLS. 
 
 PIERINO BUONACCORSI (detto Perino del Vaga). 
 
 Nat. 1500. Ob. 1547. 
 
 99. A Mythological Composition, representing a feast of the Gods. 
 
 Indian ink, heightened with white. 
 
 H. 7f in. W. 14^ in. 
 
 PIERINO BUONACCORSI (detto Perino del Vaga). 
 
 100. The Conversion of St. Paul. Pen and bistre, washed with 
 
 indigo. 
 
 H. 10 fin. W. i8f in. 
 
 * PIERINO BUONACCORSI (detto Perino del Vaga). 
 
 101. Incidents in the life of the Virgin and St. Elizabeth. Six 
 
 subjects mounted upon one sheet. Pen and bistre wash. 
 Varying from H. i\ in. to 3^ in. W. 4I in. to i£ in. 
 
 * PIERINO BUONACCORSI (detto Perino del Vaga). 
 
 102. The Nymphs of the Hesperides. A. study for the Picture of 
 
 the Labours of Hercules. Pen and bistre. 
 
 H. 6 in. W. %\ in. 
 
 Ex Collection Richardson. 
 
 *PIERINO BUONACCORSI (detto Perino del Vaga). 
 
 103. A Bacchanalian Triumph. The Bacchanalians are passing 
 
 in triumph through a mountainous landscape, interspersed 
 with temples, followed by Silenus on the ass, bearing in his 
 arms the Cantharus, attended by his Satyrs and Erigone's 
 dog. On the reverse is Silenus drunk, drinking from the 
 spigoc of a wine-tub, supported by a Satyr. The ass and 
 bacchante complete the group. Pen and bistre wash. 
 
 H. 7| in. W. \2\ in 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 23 
 
 PIERINO BUONACCORSI (detto Perino del Vaga). 
 
 104. A Beggar, sitting in front of the door of a Synagogue, asking 
 Alms of two of the Apostles. Octagon. India ink, height- 
 ened with white. 
 
 H. 11 in. W. 7f in. 
 
 Ex Collection Comte Gelozzi and Sir Thomas Lawrence. 
 
 PIERINO BUONACCORSI (detto Perino del Vaga). 
 
 ro5. An historical composition. The Meeting of Joseph and 
 Mary. Pen and bistre, heightened with white. 
 
 H. 9$ in. W. \o\ in. 
 
 Ex Collection Sir Thomas Lawrence. 
 
 PIERINO BUONACCORSI (detto Perino del Vaga). 
 
 106. A Study for the figure of St. John the Evangelist, in a sitting 
 attitude, holding a book on his knees, with an eagle by 
 his side. Pen and bistre, heightened with white. 
 
 H. 11 in. W. io£ in. 
 
 PIERINO BUONACCORSI (detto Perino del Vaga). 
 
 107. A Study of an Antique Vase. Pen and bistre, washed: 
 
 H. \\\ in. W. 7| in. 
 
 Ex Collection Count Gelozzi. 
 
 PIERINO BUONACCORSI (detto Perino del Vaga). 
 
 108. The Destruction of Niobe and her Children by Apollo and 
 
 Diana. Pen and bistre, heightened with white, on grey 
 paper. 
 
 H. 9 in. W. 15! in. 
 
24 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 BENVENUTO CELLINI. 
 Nat. 1500. Ob. 1571. 
 1 09. A Sheet of Studies for an arabesque Frieze. Pen and bistre. 
 On the reverse is a Study of a Female Head, by another 
 artist. Black chalk. 
 
 H. 5 in. W. 10 in. 
 
 * BENVENUTO CELLINI. 
 
 no. Design for a Fountain, surmounted by a figure of Neptune; 
 with studies of a fox and birds on the same paper. 
 Pen. 
 
 H. 6\ in. W. 6 in. 
 
 * BENVENUTO CELLINI. 
 
 in. Study of the back of a Female and other figures, apparently 
 from the antique. On the reverse are similar studies. 
 Pen. 
 
 H. 6f in. W. 4I in. 
 FRANCESCO ROSSI (detto Salviati). 
 
 Nat. 1510. Ob. 1563. 
 
 112. The Meeting of Mary and Elizabeth, with numerous figures. 
 
 Pen and bistre wash. 
 
 H. I2| in. W. 20 in. 
 
 GIORGIO VASARI. 
 Nat. 1514. Ob. 1578. 
 
 113. A group of Angels and Cherubim in front of an altar, 
 
 singing and playing on different instruments ; surrounded 
 with an ornamental border. Pen and bistre, heightened with 
 white on grey paper. 
 
 H. 10 in. W. 6\ in. 
 
FLORENTINE, UMBR1AN, AND ROMAN SCHOOLS. 25 
 
 GIORGIO VASARI. 
 
 114. The Marriage Feast at Cana in Galilee. Study for the picture 
 
 painted for the Refectory of the Black Friars at Perugia. 
 Pen washed with Indian ink, heightened with white, on grey 
 paper. 
 
 H. 12J in. W. 10^ in. 
 
 GIORGIO VASARI. 
 
 115. The Nativity of our Saviour, surrounded by an ornamental 
 
 border. Study for the picture painted for the Eremite 
 Fathers in the valley of Camaldoli, near Arezzo. India 
 ink, 011 grey paper, heightened with white. 
 
 H. 13! in. W. 9 J in. 
 
 * GIORGIO VASARI. 
 
 116. Destruction of the Temple. In the foreground are Israelites 
 
 carrying away the sacred vessels, pursued by Roman 
 soldiers ; one of them is struggling to regain a pillar ; 
 others engaged in preserving the sacred utensils. Soldiers 
 mounted on camels are also in pursuit ; behind the centre 
 group are Romans, with a hand-barrow bearing away a 
 heavy load, and in the distance is the Temple, with 
 prisoners being secured by Roman soldiers. Pen and 
 sepia on blue paper, heightened with white. 
 
 H. 9* in. W. ii| in. 
 
 * GIORGIO VASARI. 
 
 117. Four different Studies of Grotesque Masks for the termini of 
 
 a frieze. Black chalk. 
 
 H. 7 in. W. Si in. H. ft in. W 5$ in. 
 
 5 in. 4! in. 3^ in. 4 in. 
 
 * GIORGIO VASARI. 
 
 1 18. Subject unknown. A mitred Bishop, holding in his right 
 
 hand a crozier, stands between two Caryatides, with 
 
 his left hand upon the head of one of three men who are 
 
 kneeling upon one knee before him. Pen and bistre, with 
 
 bistre and indigo wash. 
 
 H. iof in. W. 9f in. 
 
 Ex Collection Charles Rogers. 
 
26 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 * GIUSEPPE PORTA. 
 Nat. 1520. Ob. 1570. 
 
 119. The Assumption of the Virgin. Study for the altar-piece of 
 
 the church of the Servi in Venice. The drawing originally 
 appears to have bee?i slight, and executed with a brush i?i 
 bistre, but it has been carefully worked over and very much 
 heightened with oil colour by Vandyke. 
 
 H. iof in. W. 7 in. 
 
 FREDERICO BAROCCIO. 
 Nat. 1528. Ob. 1612. 
 
 120. The Entombment of our Saviour, attended by the three 
 
 Marys and Joseph of Arimathea. Pen and bistre, washed 
 with indigo and heighte?ied with white. 
 
 H. 14I in. W. 10 in. 
 
 * FREDERICO BAROCCIO. 
 
 121. Jesus appearing to the Maries. Sepia wash, heightened with 
 
 white. 
 
 H. 12 in. W. 9 in. 
 
 Ex Collection Benjamin West. 
 
 * FREDERICO BAROCCIO. 
 
 122. Portrait of a Female, with her hair combed back. Nearly 
 
 the size of life, black and red chalk, on brown paper. 
 H. iof in. W. 9 in. 
 
 FREDERICO BAROCCIO. 
 
 123. An emblematical composition representing St. Peter and 
 
 other Saints ; in the upper part are the Virgin and Child 
 in the clouds, surrounded by angels and cherubim. Pen 
 
 and oistre, heightened with white, on grey paper, and circular 
 top. 
 
 H. \l\ in. W. 7 in. 
 
 Ex Collection Lord Spencer. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 27 
 
 FREDERICO BAROCCIO. 
 
 124. The Marriage of St. Catherine, attended by angels and 
 
 cherubim. Pen and bistre, heightened with white, on a grey 
 ground. 
 
 H. \i\ in. W. 81 in. 
 
 Ex Collection William Esdaile. 
 
 FREDERICO BAROCCIO. 
 
 125. Portrait of Francesco Maria (Duke of Urbino). Coloured 
 
 crayons. 
 
 H. 15 in. W. 10J in. 
 
 FREDERICO BAROCCIO. 
 
 126. Portrait of a Man with a Beard. Coloured crayons. 
 
 H. 15 in. W. 10 in. 
 
 * FREDERICO BAROCCIO. 
 
 127. Study of a Head and Hands. Coloured chalks, upon a warm 
 
 grey paper. 
 
 H. 16 in. W. \o\ in. 
 
 Ex Collection Robert Udney and William Esdaile. 
 
 *SALIMBINI ARCANGIOLO. 
 
 Flourished about 1557. 
 
 128. Study for an Altar Piece or a Stained Glass Window. The 
 
 Virgin, seated in the clouds, holds in her arms the infant 
 Jesus, who turns towards St. Catherine of Sienna waiting 
 to receive him. St. Agnes stands behind, and at her side 
 is a saint with the emblems of St. Catherine. On the right 
 of the Virgin are three saints in adoration. Above are a 
 group of cherubs and angels descending with flowers. St. 
 John is seated between the two principal figures. Below, 
 a Pope (Pius V.), with his face raised towards the saint, is 
 on his knees, and behind him stands St. Charles Borromeo 
 holding a crucifix formed on the stock of a gun, opposite 
 two angels with a mitre, which one is forcing upon the 
 
28 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 head of the other. In the distance is seen through the 
 opening of a building a couple of boats. Pen and sepia, 
 washed. 
 
 H.I 7f in. W. 81 in. 
 
 GIROLAMO MUTIANO. 
 
 Nat. 1528. Ob. 1590. 
 
 129. St. Jerome in the Desert, seated in prayer before a crucifix; 
 
 in the rear are two lions and trees, with a mountainous 
 background. Pen a?td bistre. 
 
 H. 13 in. W. 8| in. 
 Ex Collection Sir J . Reynolds. 
 
 TADDEO ZUCCARO. 
 Nat. 1529. Ob. 1566. 
 
 130. Two full-length Male Figures in Roman Costume. Pen and 
 
 bisire. 
 
 H. 7f in. W. 4I in. 
 
 * TADDEO ZUCCARO. 
 
 131. Constantine defeating the Army of Maxentius under the 
 
 Walls of Rome. Pen and Indian ink, washed. 
 H. 9! in. W. i6fin. 
 
 * TADDEO ZUCCARO. 
 
 132. The Men of Israel presenting Vessels of Gold and Silver to 
 
 King Solomon. Pen and bistre washed, heightened with 
 white. 
 
 H. \2\ in. W. iof in. 
 
 * TADDEO ZUCCARO. 
 
 133. Fame. The Goddess is standing upon the clouds, with 
 
 a trumpet held by the left hand to her mouth. In her 
 right hand she holds a similar instrument. Her wings 
 are extended and drapery flying, as if approaching the 
 spectator. Pen and bistre, washed. 
 
 H. 13! in. W. 81 in. 
 Ex Collection Ric/iard Cosway. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 *TADDEO ZUCCARO. 
 
 134. A Coat of Arms. The shield contains a church, surmounted 
 
 with a barbed helmet, a neck-piece, and a florid scroll. 
 Above is a winged angel, holding in each hand the end of 
 a ribbon, with the motto, avt cvm hac avt in hac. The 
 supporters are Minerva and Mercury seated, the former 
 with her attribute at her feet, and the other with the cadu- 
 ceus. Pen and bistre, washed. 
 
 H. 6\ in. W. 8f in. 
 
 *TADDEO ZUCCARO. 
 
 135. Painting and Sculpture. Painting is represented by a man 
 
 holding a scroll, upon which is an allegorical figure, sym- 
 bolic of the art, while for Sculpture the artist has adopted 
 Michael Angelo's Moses. At the feet of each are imple- 
 ments of the profession, and the words, ' Pictura/ ' Sculp- 
 tural Peti and bistre, washed. Dated 1560. 
 H. iti in. W. 9jin. 
 
 *TADDEO ZUCCARO. 
 
 136. The Presentation in the Temple. The high-priest, with 
 
 other functionaries of the Church, standing between two 
 massive twisted columns partially hidden with drapery, 
 receives the child Jesus, who is in the act of kneeling at 
 his feet. God the Father, with the Holy Spirit, is seen at 
 the top corner. Mary and Joseph are standing at the 
 bottom of the steps leading to the altar, other figures in 
 the background, and a monk kneeling with a crucifix in 
 his hands in the foreground, all are engaged in prayer. 
 Pen and bistre washed. 
 
 H. n| in. W. 7| in. 
 Ex Collection Benjamin West. 
 
 TADDEO ZUCCARO. 
 
 137. A Female kneeling at a desk, on which a book lies open. 
 Pen and bistre washed. 
 
 H. 9f in. W. 7i in. 
 
3o 
 
 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 TADDEO ZUCCARO. 
 
 138. The Last Supper. Pen and bistre washed. 
 
 H. 5| in. W. iof in. 
 
 TADDEO ZUCCARO. 
 
 139. The Combat between Hanibal and Scipio Africanus, in 
 
 which the warriors are mounted on elephants. Pen and 
 bistre. 
 
 H. \o\ in. W. i6£ in. 
 
 Ex Collection William Esdaile. 
 
 TADDEO ZUCCARO. 
 
 140. The Assumption of the Virgin Mary, attended by a host of 
 
 angels. Pen and sepia washed. 
 
 H. 15^ in. W. 2i\ in. 
 
 * TADDEO ZUCCARO. 
 
 141. The Death of St. Elizabeth. An aged female is represented 
 
 in bed, to whom a bishop is administering the last services 
 of the Church. At the foot of the bed a priest is reading 
 from a book, by the side an acolyte on his knees with a 
 censer, and behind him a young man holding the cross of 
 St. John. Pen and umber washed. 
 
 H. 8£ in. W. 8£ in. 
 
 BERNARDINO POCCETTI. 
 Nat. 1542. Ob. 1612. 
 
 142. A sitting figure of a Saint, holding in one hand a book, and 
 
 in the other a pilgrim's staff. Pen and bistre and red chalk. 
 H. \2\ in. W. 8 in. 
 Ex Collection J. P. Zootnes. 
 
 * FREDERICO ZUCCARO. 
 Nat. 1543. Ob. 1609. 
 
 143. A Novice conducted by her Relatives to a Nunnery. In 
 
 the courtyard of an ecclesiastical building, a group of three 
 females and two males are conducting a novice to a con- 
 vent, at the door of which the abbess with attendants are 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 31 
 
 waiting to receive her. A lame beggar in the foreground 
 to the right is asking alms, two gentlemen on the opposite 
 side are in conversation, and in the background is a mon- 
 astery, with the cloisters filled by monks. Bistre washed. 
 H. 12 in. W. 8 in. 
 
 *ANTONIO TEMPESTA. 
 Nat. 1555. Ob. 1630. 
 
 144. A Cavalry Battle. On the left of the drawing, a tur- 
 
 baned soldier upon a prancing horse is advancing with 
 the troop towards the centre ; other soldiers of the same 
 army with flags come from the opposite direction. One 
 man is tightening the cords of a big drum, and a kettle- 
 drum is also borne by the soldier on horseback, the leading 
 figure of the first group. The fight is seen in the distance, 
 and the caps of the foreground figures are surmounted with 
 three feathers. Pen and bistre. 
 
 H. 6\ in. W. 9 in. 
 
 ♦SALIMBINI, BEVILACQUA CAV. DA VENTURA. 
 
 Nat. 1557. Ob. 1613. 
 
 145. St. Francesca of Rome healing the Blind. The saint, elevated 
 
 upon a platform of six steps, attended by an angel holding 
 a book of the glories of heaven, is bending to a blind man 
 kneeling before her, and upon whose head she is laying 
 her hand. Behind him is a group of figures supplicating 
 the saint's assistance, and behind the angel stand three 
 persons, witnesses of the miracle. The background is 
 composed of buildings, and above are angels. Pen and 
 sepia washed, arched top. 
 
 Ex Collection of Count de Fries. 
 H. 13 in. W. 8f in. 
 
 *PASSIGNANO CRESTI DOMINICO. 
 Nat. 1558. Ob. 1638. 
 
 146. The Virgin in Glory. The Virgin is standing upon a globe 
 
 floating over a city, and borne by three angels. She is 
 surrounded by other angels exhibiting the legends of her 
 life. Bistre, washed. 
 
 H. 12J in. W. 7? in. 
 
32 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 LUDOVICO CARDI (detto Cigoli). 
 Nat. 1559. Ob. 1613. 
 47. A Monk in his Cell, seated at a table, contemplating a skull 
 by the light of a lamp. On the reverse a similar figure of 
 a monk. Pen and bistre. 
 
 H. SI in. W. 5 in. 
 
 LUDOVICO CARDI (detto Cigoli). 
 
 148. A Design for the Armorial Bearings of Pope Barberini, viz., 
 a bee, &c. Pen and bistre, washed. 
 
 H. 7f in. W. 5£ in. 
 
 Ex Collection Crozat and Edward Perks. 
 
 * LUDOVICO CARDI (detto Cigoli). 
 
 149. St. Charles Boromeo. The saint is on his knees before an 
 altar, gazing in adoration upon a crucifix, his head relieved 
 by a ray of light from above, near which angels are hover- 
 ing, holding in their hands crowns of glory. Upon the 
 altar-step is a skull and lamp. In the background is an- 
 other study for the same figure holding a crucifix, and 
 other figures entering at an arched doorway. Pen and 
 bistre. 
 
 H. 1 if in. W. 8 in. 
 
 Ex Collection T. Dupont and Count Gelozzi. 
 
 * LUDOVICO CARDI (detto Cigoli). 
 
 150. Subject unknown. A woman, with a crown upon her head, 
 attended by three females and two boys bearing her train, 
 is represented as meeting an old ecclesiastic, who is about 
 to break an article of a horseshoe form, to receive 
 which a page stands by his side with a salver. The back- 
 ground is the upper part of a building, in sharp perspec- 
 tive, and the drawing, which is semicircular, appears to 
 have been intended for the compartment of a ceiling. 
 Sepia. 
 
 II. SI- in. W. 17^ in. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 33 
 
 * LUDOVICO CARDI (detto Cigoli). 
 
 151. St. Peter Healing the Lame. A finished study for the picture 
 
 in the Vatican. This drawing is most interesting, as the 
 picture, now destroyed, was esteemed by Sacchi next 
 to Raffael's Transfiguration. Pen and bistre washed, arched 
 top. 
 
 H. I5f in. W. \o\ in. 
 
 * LUDOVICO CARDI (detto Cigoli). 
 
 152. A First Thought for the principal Figures in the Picture, 
 
 ' Healing the Lame.' Black chalk on brown paper, 
 heightened with white, arched top. 
 
 H. 15I in. W. io£ in. 
 
 * LUDOVICO CARDI (detto Cigoli). 
 
 153. Martyrdom of a Female Saint. The saint, with a crown 
 
 on her head, is professing her faith in the presence of the 
 emperor, seated on a throne under a canopy with the 
 officers of his court. In the foreground are converts in 
 the act of expressing admiration at the heroism of the 
 martyr. In the clouds above are cherubim, holding 
 palm-branches, and through the columns of the building 
 is seen the fire, with men arranging fuel to increase its 
 heat. Pen and bistre washed with indigo. 
 
 H. 15^ in. W. 9^ in. 
 
 * LUDOVICO CARDI (detto Cigoli). 
 
 154. St. Simeon blessing the Infant Jesus. The saint is on his 
 
 knees before the Saviour and the Virgin, who is present- 
 ing her son to him. On the right is St. Anna kneeling, 
 with angels in the background in the act of adoration. 
 Pen and bistre. 
 
 H. 8i in. W. 5f in. 
 
 D 
 
34 
 
 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 *ORAZIO LORNI (Gentileschi). 
 Nat. 1563. Ob. 1647. 
 
 155. A Female at a Table. Black chalk on brown paper, height- 
 
 ened with white. 
 
 H. 15! in. W. 1 of in. 
 
 OTTAVIO LEONI (of Padua). 
 Nat. 1585. Ob. 1628. 
 
 156. A Portrait of Baron de Siciliani, dated 1622. Black and 
 
 red chalk, heightened with white. 
 
 H. 8f in. W. 6 in. 
 
 OTTAVIO LEONI (of Padua). 
 
 157. Portrait of Settimia Manenti Salemitana. Coloured chalks, 
 
 on a grey ground. 
 
 H. 9f in. W. 6f in. 
 
 Ex Collection Baion Verslolk. 1 
 
 OTTAVIO LEONI (of Padua). 
 
 158. A Portrait of Signora Pimpa Saponara, dated 1620. Black 
 chalk, heightened with white on grey paper. 
 
 H. %\ in. W. 61 in. 
 
 OTTAVIO LEONI (of Padua). 
 
 159. A Portrait of Durante Alberti di Borgo. Black chalk, 
 heightened with white on grey paper. 
 
 H. 9i in. W. 6f in. 
 
 Ex Collection Mariette. 
 
 OTTAVIO LEONI (of Padua). 
 160. A Portrait of Signora Eufrasia, dated 16 17. Black chalk, 
 heightened with white on grey paper. 
 
 H. 8| in. W. 6£ in.* 
 
 * For continuation of drawings by Leoni see last page. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 35 
 
 *PIETRO BERRETINO CORTONA. 
 
 Nat. 1596. Ob. 1669. 
 
 161. St. Simeon. The Virgin, seated upon a throne, holds the 
 
 Infant, who is standing upon her lap ; she directs her face 
 to the aged saint, to whom also the Saviour is turning. 
 Simeon rests upon one knee with his back to the spectator. 
 Before the throne, kneeling upon the step, is a figure, pro- 
 bably intended for the prophetess Anna, in the act of 
 adoration. Pen and bistre. 
 
 H. 10 in. W. 7£ in. 
 Ex Collection Sir Joshua Reynolds. 
 
 * GIO BATISTA SALVI (il Sassoferrato). 
 
 Nat. 1605. Ob. 1685. 
 
 162. The Holy Family. The Virgin, seated with the Infant 
 
 asleep, is uncovering him to show the child's features to 
 St. John, standing on her right in the act of adoration. 
 Joseph, with a book in his hand, on the left, appears to 
 have been reading, but his attention is for the time 
 arrested by the prophetic remarks of John respecting the 
 Saviour. Joseph leans with his left arm on the portion of 
 a building leading to where the other group are, with trees 
 rising over them. The drawing has been scored for en- 
 larging. Black chalk upon blue paper. 
 
 H. 10 in. W. 14^ in. 
 Ex Collection Robert Udney and William Esdaile. 
 
 * DELLA BELLA. 
 
 Nat. 1610. Ob. 1664. 
 
 163. A sheet containing nine studies. Two of the drawings are 
 
 designs for the etching mounted upon the same sheet. 
 Pen and bistre. 
 
 H. I2f in. W. io£ in. 
 
 One of the drawings has the mark of the Lempereur collection. 
 
36 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 * DELLA BELLA. 
 
 164. Seven circular studies, of the life of Christ. Fine pen, sepia. 
 
 H. \2\ in. W. 9% in. 
 
 * DELLA BELLA. 
 
 165. Travellers in a Storm. A man in the centre of the view 
 
 leads a horse along a mountainous pass before the wind, 
 beneath is a mounted traveller descending the same path, 
 and on the right, in the middle distance, is a man ap- 
 proaching ; the drapery and action of the figures and trees 
 show the fury of the gale. Pen and bistre, washed with 
 Indian ink. 
 
 H. 8£ in. W. n£ in. 
 
 * CARLO DOLCI. 
 Nat. 1616. Ob. 1686. 
 166. Study for the martyrdom of a Saint on his knees, with a 
 study also of the right arm of the figure on the same 
 surface. Red chalk. 
 
 H. 14 in. W. io£ in. 
 
 * CARLO DOLCI. 
 
 167. A similar study of a Female Figure. Red chalk. 
 
 H. 13! in. W. iof in. 
 
 Ex Collection J. Dupont. 
 
 *GIO. FRANCESCO ROMANELLI. 
 Nat. 1617. Ob. 1662. 
 
 168. Queen Sheba bringing presents to King Solomon. The 
 
 Queen and four attendants form the centre group ; she is 
 giving instructions respecting two packages, which they 
 have deposited on the ground ; other slaves are carrying 
 a casket upon a handbarrow, and following them is a 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 37 
 
 cavalcade, led by a man mounted upon an elephant. A 
 landscape background with trees, behind which the pro- 
 cession is advancing. In the distance is seen the prow of 
 a vessel riding near the shore. Indian ink. 
 
 H. 9J in. W. 15 in. 
 
 *LAZARO BALD I. 
 Nat. 1623. Ob. 1703. 
 169. A design for the dedication of the Church of the Madonna 
 della Umilta at Pistoia. On the right of the drawing, 
 under a canopy, is seated the Pope, and on the steps 
 leading to the throne is Vitoni, the architect, kneeling, 
 while presenting to him the ground-plan of the building. 
 Officers of the Church are introduced on the right and left 
 of the group, and two dignitaries are standing beside. 
 Trumpets appear sounding, and in the upper part of the 
 drawing is the Madonna in the clouds, holding the infant 
 Jesus. Arched top. Pen and sepia wash. 
 
 H. 6f in. W. 4 in. 
 
 CARLO MARATTA. 
 Nat. 1625. Ob. 1713. 
 
 170. St. Cecilia playing on the organ, attended by an Angel 
 
 holding a music-book. Pen and bistre, washed. 
 
 H. 9f in. W. 7| in. 
 
 Ex Collection T. Dimsdale. 
 
 CARLO MARATTA. 
 
 171. The Head of an Angel, after Raffaelle. Coloured chalks. 
 
 H. i6£ in. W. io\ in. 
 
 * CARLO MARATTA. 
 172. Study of a Female on her knees. Black chalk. 
 
 H. 4^ in. W. 45 in. 
 
 Ex Collection J. Richardson. 
 
33 FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 * CARLO M AlRATTA. 
 
 173. The Ascent of the Virgin. The Madonna, surrounded by 
 Angels, is borne to heaven seated in a wreath ; on the 
 foreground are the four Evangelists in the act of adora- 
 tion. Pen and bistre wash. 
 
 H. 15$ in. W. I of in. 
 
 * CARLO MARATTA. 
 
 174. St. John expounding the mystery of the Immaculate Con- 
 ception. The Virgin seated in glory, surrounded by 
 Angels ; her head crowned with stars, and her arms ex- 
 tended, is looking towards heaven ; a crescent reversed at 
 her feet, in which is a dove ; below, the Evangelist is stand- 
 ing explaining the miracle to the Pope and Bishops. Pen 
 and bistre, heightened with red chalk. 
 
 H. 18 in. W. io| in. 
 
 This drawing is exceedingly interesting, as preserving the composition of 
 one of Maratta's fine pictures, destroyed by fire at the Church of St. 
 Paul at Rome, at the commencement of the 19th century. 
 
 *CIRO FERRI. 
 
 Nat. 1634. Ob. 1689. 
 
 175. The Annunciation. The Angel Gabriel, with wings ex- 
 tended, and holding a lily in his right hand, is addressing 
 the Virgin, who is meekly bending to his salutation. The 
 dove, as the Holy Spirit, is descending in a ray of light, 
 most of which rests on Mary's head ; above is God the 
 Father with Cherubs and Angels, and through a door in 
 the background are seen a landscape and building. Red 
 chalk. 
 
 H. i6| in. W. io| in. 
 
FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 39 
 
 *DE PIETRO PETRI. 
 Nat 1671. Ob. 1716. 
 176. An allegory. Fame attending upon Truth, who is support- 
 ing with her left hand a male portrait ; between the two 
 figures is a Cupid seated at the feet of Truth holding a 
 quiver. Pen and Indian ink wash, upon a warm-colour 
 paper. 
 
 H. gl in. W. 7* in. 
 
 Ex Collection Sir Joshua Reynolds. 
 
 * CAVALIER PIETRO LEONE GHIZZI. 
 Nat. 1674. Ob. 1755. 
 
 177. Portrait of a Merchant. He is represented standing at a desk 
 
 with a key in his hand, to which another key is attached 
 by a string, and with peculiarly formed spectacles on his 
 nose. He appears to have risen from his chair to address 
 some one before him. On the walls are pictures framed, 
 and in a closet, the door of which is open, are seen books, 
 and upon the cover of one is written J. A. C. 1766, and 
 also in pencil upon two sacks standing in the foreground. 
 Pen and bistre wash. 
 
 H. iof in. W. 8 in. 
 
 PAOLO PANINI. 
 Nat. 1691. Ob. 1758. 
 
 178. Ancient Architectural Ruins; in the foreground are six 
 
 columns of a ruined Temple, and a group of five figures. 
 Pen and bistre, washed with Itidian ink. 
 
 H. 12$ in. W. 8£ in. 
 
 PAOLO PANINI. 
 
 179. A large composition of ancient architectural Roman Ruins ; 
 
 in the foreground a group of five figures resting on frag- 
 ments of sculpture. Indian ink. 
 
 H. 13! in. W. i7i in. 
 
4Q FLORENTINE, UMBRIAN, AND ROMAN SCHOOLS. 
 
 PAOLO PANINI. 
 
 1 80. A study of Architectural Ruins ; in the centre is a vase on a 
 pedestal, with numerous figures. Pen and bistre, washed 
 with Indian ink. 
 
 H. I2f in. W. 81 in. 
 
 ♦PAOLO PANINI. 
 
 1 8 1 . A landscape composition, with figures of reference attached 
 to each building, showing the source from which he had 
 derived them. Bistre, washed. 
 
 H. \o\ in. W. 14! in. 
 
 ♦PAOLO PANINI. 
 
 182. An architectural composition. In a square, with entrances 
 at the centre, are a series of buildings arranged, appa- 
 rently taken from nature, reference being made to each 
 by figures. Two equestrian statues are in the middle 
 distance, and in the foreground on the right a helmeted 
 warrior is seated upon a pedestal. Pen and bistre wash. 
 H. g\ in. W. 13 in. 
 Ex Collection Count Cuylus. 
 
 * PAOLO PANINI. 
 
 183. Ruins. On the right a ruined temple, with Corinthian 
 columns supporting the entablature. A male and two female 
 figures at the entrance are addressing a woman with a 
 vase standing at a fountain, from which water is flowing. 
 A man on horseback is also at the fountain. On the 
 opposite side of the drawing, upon a pedestal rising over 
 ruins, is a statue of Michael Angelo's torso ; in the 
 distance an arch, with other buildings. Pen and Indian 
 ink. 
 
 H. \2\ in. W. 8i in. 
 
SCHOOL OF PARMA AND OTHER ITALIAN. 
 
 4* 
 
 ^cftool of Parma, ami ot&er 3[taitan. 
 
 LORENZO DA COSTA DI FERRARA. 
 Nat. 1488. Ob. 1530. 
 
 184. Christ bearing His Cross led by the Roman soldiery to 
 
 Mount Calvary. Pen, washed with bistre. 
 
 H. 7* in. W. 15J in. 
 
 ANTONIO ALLEGRI (detto II Corregio). 
 
 Nat. 1494. Ob. 1534. 
 
 185. A Foreshortened Figure of a Cherub floating in the air. 
 
 Red chalk, heightened with white. 
 
 H. 5* in. W. sf in. 
 
 Ex Collection Thomas Hudson and Sir Joshua Reynolds. 
 
 ANTONIO ALLEGRI (detto II Corregio). 
 
 186. A Study for the figure of the Virgin Mary, in red chalk, 
 
 painted in the centre of the Cupola at Parma, mentioned 
 in Jonathan Richardson's 1 Account of Works of Art ' as 
 being in his father's Collection. 
 
 H. 4! in. W. 4 in. 
 
 Ex Collection Richardson. 
 
4 2 
 
 SCHOOL OF PARMA, AND OTHER ITALIAN. 
 
 ANTONIO ALLEGRI (detto II Coreggio). 
 
 187. St. Luke, St. Mark, &c. A Study for the figures painted in 
 
 the Cupola at Parma. Red chalk, heightened with white. 
 
 H. 8gin. W. n| in. 
 
 Ex Collection Marquis de Lagoy and Sir Thomas Lawrence. 
 
 ANTONIO ALLEGRI (detto II Coreggio). 
 
 188. A Study of a Cupid in the attitude of sharpening his arrows. 
 
 Black chalk, heighte?ied with white on grey paper. 
 
 H. 16J in. W. ioj in. 
 
 Ex Collection Mariette. 
 
 * ANTONIO ALLEGRI (detto II Coreggio). 
 
 189. A Sketch of a Cupid. Black chalk. 
 
 H. 4I in. W 4^ in. 
 
 Ex Collection Sir Joshua Reynolds. 
 
 * ANTONIO ALLEGRI (detto II Coreggio). 
 
 190. Study of the back of a Man with his right arm raised. 
 
 Red chalk. 
 
 H. ioi in. W. 13^ in. 
 
 * ANTONIO ALLEGRI (detto II Coreggio). 
 
 191. A Study for one of the Apostles. Red chalk. 
 
 H. 7| in. W. sf in. 
 
 Ex Collection C. Rogers and W. Esdaile. 
 
SCHOOL OF PARMA, AND OTHER ITALIAN. 
 
 43 
 
 GIOVANNI CAMBIASO (Father of Luca). 
 Nat. 1495. Ob. . 
 
 192. St. George rescuing a Female from the jaws of a Dragon. 
 
 Pen and bistre. 
 
 H. \\\ in. W. 8 in. 
 
 On the reverse are seventeen lines in the handwriting of Jonathan Richard- 
 son, relative to the life and studies of the artist. 
 
 FRANCESCO MAZZUOLI (detto II Parmegiano). 
 
 Nat. 1503. Ob. 1540. 
 
 193. A composition, representing the Nativity of Jesus Christ. 
 
 Pen and bistre washed, heightened with white. 
 
 H. 6£ in. W. 7$ in. 
 
 Ex Collection J. P. Zoomes and Marquis de Lagoy. 
 
 FRANCESCO MAZZUOLI (detto II Parmegiano). 
 
 194. A draped female Figure, carrying a vase in her hand. Pen 
 
 and bistre washed, heightened with white. 
 
 H. 9§ in. W. 4I in. 
 
 Ex Collection Sir Peter Lely. 
 
 FRANCESCO MAZZUOLI (detto II Parmegiano). 
 
 195. A Study for the picture in the National Gallery, called the 
 
 ' Vision of St. Jerome,' representing the Virgin Mary stand- 
 ing in the clouds, with the infant Saviour resting on her 
 lap; St. John the Baptist kneeling below, and St. Jerome 
 lying on his back. Pen and bistre, 
 
 H. io\ in. W. 64 in. 
 
 On the reverse another study of the same subject in red chalk. 
 
44 
 
 SCHOOL OF PARMA, AND OTHER ITALIAN. 
 
 * FRANCESCO MAZZUOLI (detto II Parmegiano). 
 
 196. Circe giving the enchanted cup to the companions of 
 
 Ulysses. Black chalk, on grey paper, heightened with white. 
 
 H. 7i in. W. 7i in. 
 
 * FRANCESCO MAZZUOLI (detto II Parmegiano). 
 
 197. Christ disputing with the Doctors. The Saviour is seen 
 
 raised above the group, standing upon the steps of the 
 Temple. The left arm hangs by His side, holding His 
 mantle ; the right is raised, with the hand pointing upwards, 
 giving expression to the argument. The doctors standing 
 and sitting in front ; some conversing, whilst others are 
 in deep attention. Pen and bistre, washed. 
 
 H. 9} in. W. 6 in. 
 
 Ex Collection Sir Thomas Lawrence. 
 
 * FRANCESCO MAZZUOLI (detto II Parmegiano). 
 
 198. The Interment of St. Catherine. Two angels are lowering 
 
 the body of the martyr into the tomb. A third angel 
 appears to be giving instructions to the one supporting 
 the saint's hand at the side of the tomb. The spiked 
 wheel and sword are introduced. A glory shines through 
 the clouds in the background. Sepia, washed. 
 H. 9f in. W. 7i in. 
 Ex Collection Count Lagoy. 
 
 * FRANCESCO MAZZUOLI (detto II Parmegiano). 
 
 199. Part of a composition. Subject unknown. Pen and bistre, 
 
 washed. 
 
 H. 11 in. W. 6£in. 
 
 Ex Collection Charles I. and Earl Arundel. 
 
SCHOOL OF PARMA, AND OTHER ITALIAN. 
 
 45 
 
 * FRANCESCO MAZZUOLI (detto II Parmegiano). 
 
 200. The Baptism of Jesus. The Saviour is kneeling to John, 
 
 who is baptizing Him. Above is seen the heavenly host, 
 and the Holy Ghost in form of a dove amidst a blaze of 
 light descending upon Him. On the right and left of the 
 principal group are disciples of the prophet witnessing the 
 ceremony. Slight pen and bistre washed, heighte?ied with 
 white, upon grey paper. 
 
 H. \2\ in. W. 8f in. 
 ANDREA SOLARI. 
 
 Flourished about 1530. 
 
 201. Charity. A Group of three Figures. Octagon bistre, 
 
 heightened with white. 
 
 H. 4 in. W. 4f in. 
 
 Ex Collection Marquis de Lagoy and W. Esdaile. 
 
 NICOLO DEL ABATI. 
 Nat. 1 5 12. Ob. . 
 
 202. A Mythological design, probably representing the Escape of 
 
 Eurydice from the Infernal Regions, guarded by Cerberus. 
 
 Pen and bistre. 
 
 H. 6f in. W. 10 in. 
 
 Ex Collection Earl of Arundel and Lord Spencer. 
 
 LUCA CAMBIASO (detto Luchetto da Genoa). 
 
 Nat. 1527. Ob. 1585. 
 
 203. A Sketch for Venus at her toilette, attended by Cupid. At 
 
 her feet a pair of doves. Pen and bistre. 
 
 H. I2f in. W. 8f in. 
 
46 
 
 SCHOOL OF PARMA, AND OTHER ITALIAN. 
 
 LUCA CAMBIASO (detto Luchetto da Genoa). 
 
 204. A Sketch for an Altar-piece, representing the Virgin Mary 
 
 seated on the clouds, and holding the infant Christ sur- 
 rounded by Cherubim and Seraphim. In the foreground 
 are four Saints. An architectural border embellishes the 
 whole. Pen and bistre washed. 
 
 H. 13J in. W. 9 £ in. 
 
 LUCA CAMBIASO (detto Luchetto da Genoa). 
 
 205. A Female leading by the hand two little children. Pen and 
 
 bistre. 
 
 H. iof in. W. 8* in. 
 
 *LUCA CAMBIASO (detto Luchetto da Genoa). 
 
 206. A Mother playing with her Child. The drawing represents 
 
 three generations — the grandmother, mother, and child. 
 The latter, with his back to the spectator, is looking up to 
 his mother, with arms raised for her to lift him, which she 
 is in the act of doing; while the former holds ready a 
 garment wherewith to clothe him. Pen and bistre washed. 
 
 H. 11 in. W. 8|in. 
 
 * LUCA CAMBIASO (detto Luchetto da Genoa). 
 
 207. Fame. Fame, with wings extended and drapery flying, is 
 
 represented seated upon a globe, borne by three boys. In 
 her right hand is a trumpet, and in her left she holds 
 another to her mouth with distended cheeks. Pen and 
 
 bistre. 
 
 H. 13 in. W. 9I in. 
 
 * LUCA CAMBIASO (detto Luchetto da Genoa). 
 
 208. The Living and the Dead. A choir of boy angels, supported 
 
 by three flying cherubs, are represented seated upon a 
 
SCHOOL OF PARMA, AND OTHER ITALIA A. 
 
 cloud singing. The cloud hovers over and forms part of the 
 background to a group of dead children. Pen and bistre, 
 washed. 
 
 H. 15& in. W. iof in. 
 
 Ex Collection P. H. Lancranke. 
 
 * LUCA CAMBIASO (detto Luchetto da Genoa). 
 
 209. The Angel dictating to John in the Isle of Patmos. Pen and 
 
 bistre, washed. 
 
 H. \2\ in. W. 84 in. 
 
 GIROLAMO MAZZUOLI. 
 
 Living in 1580, and assisted Giulio Romano in the decoration of the 
 Palazzo del T. at Mantua. 
 
 210. The Sacrifice of Iphigenia. Pen and bistre. 
 
 H. iof in. W. 7£ in. 
 On the reverse is a sketch of five cherubim, 
 
 BARTOLOMEO SCHIDONE. 
 
 Nat. 1560. Ob. 161 6. 
 
 211. Portrait of a Young Man. Red chalk. 
 
 H. 1 if in. W. 9|in. 
 
 BARTOLOMEO SCHIDONE. 
 
 212. The Marriage of St. Catherine. Pen and bistre, washed, on 
 
 grey paper. 
 
 H. 64 in. W. in. 
 
 FRANCESCO VANNI (called Vanni of Siena). 
 
 Nat. 1563. Ob. 1610. 
 
 213. Madonna and infant Saviour, with Elizabeth and St. John. 
 
 Pen atid bistre. 
 
 H. 8 in. W. 6% in. 
 
 Ex Collection Count Gelozzi. 
 
4 8 
 
 SCHOOL OF PARMA, AND OTHER ITALIAN. 
 
 GIOVANNI BENEDETTO CASTIGLIONE. 
 (detto II Grechetto). 
 
 Nat. 1616. Ob. 1670. 
 
 214. Landscape and Figures, with a flock of sheep. In colours. 
 H. 15 J in. W. 2of in. 
 
 * GIOVANNI BENEDETTO CASTIGLIONE. 
 
 (detto II Grechetto). 
 
 215. The Assumption of the Virgin. The Virgin is seen in the 
 centre of the picture borne to heaven by Cherubim, and 
 looking up, with arms extended, into the glory by which 
 she is surrounded. On the tomb are the grave-clothes, 
 symbolical of earth, which she has left behind. Two 
 cherubs are looking into the head and foot of the grave, 
 and in the centre is another cherub watching the ascending 
 group, while at the same time mechanically replacing the 
 funereal garments. On the foreground are books and cross- 
 bones, and at the bottom of the tomb at the left corner 
 the artist has written his name. In colours. 
 
 H. 14I in. W. io|in. 
 
VENETIAN SCHOOL. 
 
 49 
 
 — ♦ — 
 
 GIOVANNI BELLINI. 
 
 Nat. 1422. Ob. 15 12. 
 
 216. A Study of an Old Man's Head. Pen and bistre, heightened 
 
 with white, on grey paper. On the reverse a study of a 
 Hand. 
 
 H. in. W. 6£ in. 
 
 GIORGIO BARBARELLI (detto Giorgione). 
 Nat. 1477. Ob. 151 1. 
 
 217. Cupid holding a quiver. Red chalk, heighte?ied with white 
 
 on grey paper. 
 
 H. 7 in. W. Si in. 
 
 Ex Collection Sir Peter Lely and Sir Joshua Reynolds. 
 
 * GIORGIO BARBARELLI (detto Giorgione). 
 
 218. A view of an ancient Italian Town. Probably a sketch at 
 
 Cadore. Pen and bistre, heightened with white. 
 H. 11 in. W. 8fin. 
 
 GIORGIO BARBARELLI (detto Giorgione). 
 
 219. A Man playing upon a Musical Instrument. A study for 
 
 the male and female seated on the ground in the picture 
 of The Concert. Pen and sepia. 
 
 H. 5 1 in. W. 7f in. 
 
 E 
 
5o 
 
 VENETIAN SCHOOL. 
 
 TIZIANO VECELLIO. 
 Nat. 1480. Ob 1576. 
 
 220. A Study for the Head of a Priest. Pen and bistre. 
 
 H. si in. W. 4 J in. 
 
 Ex Collection Thomas Hudson. 
 
 TIZIANO VECELLIO. 
 
 221. Study of Trees for the picture of 1 11 Pietro Martire? Black 
 
 chalk, heightened with white. 
 
 H. i6f in. W. 7f in. 
 
 * TIZIANO VECELLIO. 
 
 222. Landscape. A carefully finished drawing with a bridge 
 
 over a river guarded by a fort. The road leads to a town 
 situated upon a hill. In the foreground is a young man 
 seated, playing upon a pipe. Pen and bistre. 
 
 H. 61 in. W. 9£ in. 
 
 Ex Collection J. Richardson. 
 
 * TIZIANO VECELLIO. 
 
 223. Study of a Kneeling Figure in the Assumption. Black chalk 
 
 on blue paper. The drawing has been scored for enlarging. 
 H. 14! in. W. 10 in. 
 
 Ex Collection P. H. Lankrinck. 
 
 * TIZIANO VECELLIO. 
 
 224. Interior of an Apartment. Pen and bistre washed. 
 
 H. 14! in. W. 91 in. 
 
 Ex Collection Sir Thomas Lawrence and William Esdaile. 
 
 TIZIANO VECELLIO. 
 225 A Sketch for the celebrated picture of the Peter Martyr. 
 Pen and bistre. 
 
 H. io\ in. W. 81 in. 
 On the reverse a Study for a Holy Family with St. John. 
 Pen and bistre. 
 
VENETIAN SCHOOL. 
 
 5 
 
 TIZIANO VECELLIO. 
 
 226. A Landscape, with Venus dissuading Adonis from going to 
 the Chase. In the foreground Adonis, fully equipped, 
 holding a spear in one hand, and with the other embracing 
 Venus ; two dogs standing by his side are held round the 
 neck by Cupid, whilst another lies waiting behind. Pen 
 and bistre, washed. 
 
 H. 8f in. W. 12 in. 
 
 Ex Collection Lord Spencer. 
 
 TIZIANO VECELLIO. 
 
 227. Diana and her Nymphs bathing, and the Denouement of 
 
 Calisto. Pen and sepia, washed. 
 
 H. 8 J in. W. I2| in. 
 
 TIZIANO VECELLIO. 
 
 228. An ornamental design of two Cupids holding a scroll, for 
 
 the upper part of an altar-piece. Pen and bistre. 
 
 H. 3I in. W. 61 in. 
 
 Ex Collection Sir Peter Lely. 
 
 TIZIANO VECELLIO. 
 
 229. A Landscape, in which are represented a Boar Hunt and the 
 Death of Adonis. In the foreground to the left, Venus is 
 lamenting over the dead body of Adonis, a dog standing 
 by her side. In the middle distance a group of horsemen 
 attacking a wild boar ; on an eminence in the background, 
 a Town, at the back of which stands Titian's Mill. Pen 
 and bistre. 
 
 H. \\\ in. W. i6f in. 
 
 Ex Collection Lo?'d Spencer. 
 
52 
 
 VENETIAN SCHOOL. 
 
 GIO. LICINIO (PORDENONE). 
 Nat. 1484. Ob. 1540. 
 
 230. A Study for the figure of St. Augustin, in a sitting posture, 
 
 with his left arm resting on a book — ' dipinto nella chiesa di 
 Sta. Maria di Campagna a Piacenza? Bistre, heightened 
 with white on grey paper. 
 
 H. 9 \ in. W. 7f in. 
 
 Ex Collection Jonathan Richardson and C. Jennings. 
 
 *GIO. LICINIO (Pordenone). 
 
 231. A Saint Reading. He is fully draped, seated with a book, 
 
 supported by his left arm and hand, looking towards the 
 left. Bistre washed, on grey paper, heightened with white. 
 Octagon top. 
 
 H. 9§ in. W. 7f in. 
 SEBASTIAN DEL PIOMBO. 
 
 Nat. 1485. Ob. 1547. 
 
 232. A Group of three Female figures, one of them carrying a 
 
 basket on her head. A Study for part of an historical 
 picture, formerly in the collection of Mr. Davenport 
 Bromley. Black chalk, heightened with white 011 grey paper. 
 H. 13 in. W. 6\ in. 
 
 *AGOSTINO VENEZIANO. 
 Nat. 1490. Ob. . 
 
 233. The Interior of a Church or Temple. The entablature of 
 
 which is supported by innumerable columns. The Virgin 
 is seated on the right, with her infant on her lap, and 
 behind her Joseph as a carpenter is working at a bench. 
 A group of cherubs on the left floating in the air holds a 
 scroll, and the infant's attention is drawn towards it. On 
 the foreground is the artist's monogram, and on the build- 
 ing a tablet with inscription. Pen and bistre, washed. 
 Circular, 7| in. 
 
VENETIAN SCHOOL. 
 
 53 
 
 BATTISTA FRANCO. 
 
 Nat. 1498. Ob. 1561. 
 
 234. Christ disputing with the Doctors in the Temple. A compo 
 
 sition of many figures. Pen and bistre, washed. 
 H. 7| in. W. I2f in. 
 
 BATTISTA FRANCO. 
 
 235. The Holy Family and St. John. Drawn with a very fi?ie 
 
 pen and bistre: 
 
 H. in. W. iof in. 
 
 Ex Collection Uvedale Price. 
 
 BATTISTA FRANCO. 
 
 236. St. Francis on his knees offering Fruit to the infant Saviour 
 
 in the lap of the Virgin. Fine pen and bistre. 
 
 H. 7| in. W. 8i in. 
 
 Ex Collection William Esdaile. 
 
 * BATTISTA FRANCO. 
 
 237. The Cyclops forging the Bolts of Jove. Pen and bistre on 
 
 blue paper. 
 
 H. 9 in. W. 101 in. 
 
 Ex Collection Richardson, Sir J. Reynolds, and Count Caylus. 
 
 BATTISTA FRANCO. 
 
 238. A group of horsemen in close combat. Pen and sepia, 
 
 washed. 
 
 H. 7f in. W. 12 in. 
 
 Ex Collection Comte de Fries. 
 
 DOMENICO CAMPAGNOLA. 
 
 Nat. . Ob. . Flourished 1543. 
 
 239. A Woody Landscape. In the foreground a man seated by 
 
 the roadside in meditation ; in the background a chateau, 
 with aqueduct in front. Pen and Indian ink. 
 
 H. lo£ in. W. 133 in. 
 
 Ex Collection Thomas Hudson. 
 
54 
 
 VENETIAN SCHOOL. 
 
 JACOPO DA PONTE (detto II Bassano). 
 Nat. 15 10. Ob. 1592. 
 
 240. The Adoration of the Shepherds. Indian ink, washed on 
 
 grey paper. 
 
 H. 7f in. W. 14J in. 
 
 This is probably a study for the picture painted in the Church of San 
 Giuseppe at Bassano. 
 
 JACOPO DA PONTE (detto II Bassano). 
 
 241. The Birth of St. John, a composition of many figures. Oval. 
 
 Black chalk, heightened with white. 
 
 W. 16 in. W. io\ in. 
 
 * JACOPO DA PONTE (detto II Bassano). 
 
 242. The Supper at the house of Simon the Leper. The time 
 
 chosen is when the Saviour says, ' Simon, I have something 
 to say to you.' He is seated at the end of the table, 
 and the Magdalen is washing his feet with her tears ; 
 Simon, standing cap in hand, fully attentive to what 
 his Lord should say, is at the other end of the table ; 
 two men seated, watch him attentively, with an expression 
 of surprise, while two other of the guests are reasoning 
 upon the matter which has given rise to the subject. A 
 boy places a dish upon the table, and a cat at his feet has 
 made free with some of the edibles from which a cook is 
 making a selection ; a servant at a curtained door is giving 
 the latter instructions. The scene is an open hall, with 
 mountains seen in the distance. Black chalk, slightly 
 heightened with red a?id white. 
 
 H. I2| in. W. 17J in. 
 
 * JACOPO PALMA (the Elder). 
 
 Nat. 1 5 10. Ob. . 
 
 243. Study of a Male figure seated under a tree. Black and red 
 
 chalk. 
 
 H.i if in. W. 7£in. 
 
 Ex Collection John Barnard and Sir J. Reynolds. 
 
VENE TIAN SCHO OL 
 
 55 
 
 GIACOPO ROBUSTI (detto II Tintoretto). 
 
 Nat. 1512. Ob. 1594. 
 244. The Assumption of the Virgin. A composition of many 
 figures. Bistre and Indian ink, on grey paper, with refer- 
 ences on the pri?icipal figures for colour. 
 
 GIACOPO ROBUSTI (detto II Tintoretto). 
 
 245. The Circumcision of the Infant Saviour, attended by numer- 
 ous figures. With numbers on each figure in reference to 
 writing on the back. Bistre wash 011 grey paper. 
 
 * GIACOPO ROBUSTI (detto II Tintoretto). 
 
 246. The Martyrdom of St. Thomas. Saint Thomas having re- 
 
 ceived by inspiration instructions to go to India, obeyed 
 the command, and miraculously converted the King Gon- 
 doforo. In his zeal, he travelled through other parts of 
 the East, preaching and converting wherever he went. The 
 success attending his labours excited the enmity of the 
 heathen teachers, and upon the great idol of the temple 
 dissolving, as was supposed by his agency, the chiefs of 
 the Temple slew him with a (spear) sword. At the bottom 
 of the drawing, barely legible, is the history of the legend, 
 and at the corner the artist's name — Tintoretto. Pen and 
 bistre, washed, arched top. 
 
 H. io| in. W. 8f in. 
 Ex Collection Count Lagoy. 
 
 * GIACOPO ROBUSTI (detto II Tintoretto). 
 
 247. The Universal Judgment. A study for the whole subject of 
 
 the celebrated picture at Santa Maria dell' Orto, differing 
 in many respects from the picture. Pen and Indian ink 
 wash on greenish coloured paper heightened with white. 
 
 H. 7| in. W. 11^ in. 
 
 Ex Collection Nathaniel Hone. 
 
 H. 9f in. 
 
 W. 1 if in. 
 
 II. 24.} in. 
 
 W. \l\ in. 
 
5 6 
 
 VENETIAN SCHOOL. 
 
 PAOLO CAGLIARI (detto Paolo Veronese). 
 Nat. 1530. Ob. 1588. 
 
 248. Penelope, seated at work, surrounded by her maidens, is 
 
 surprised by the unexpected arrival of her husband Ulysses, 
 and his companions. Pen and bistre heightened, 
 
 H. 11 in. W. 7\ in. 
 
 Ex Collection Marquis de Lagoy, Sir Thomas Lawrence, and T. Dimsdale. 
 
 PAOLO CAGLIARI (detto Paolo Veronese). 
 
 249. An Exterior. St. Mark seated in the foreground, holding a 
 
 scroll upon his knees, a lion reposing at his feet ; at his 
 side stands a gaoler, who seems speaking to him, and 
 holding in one hand a pair of leg-irons. To the right of 
 St. Mark, and kneeling under a tree, is St. Francis, appa- 
 parently amazed at the brilliant apparition of a cross in 
 the sky. Indian i?ik heightened with white on grey paper. 
 
 H. n£ in. W. 8* in. 
 
 Ex Collection Sir Peter Lely, Sir Thomas Lawrence, and P. H. Lankrink. 
 
 * PAOLO CAGLIARI (detto Paolo Veronese). 
 
 250. John presented, when a child, to the Infant Jesus. The 
 
 Virgin, seated in the porch of a temple beside a fluted 
 column, supports the infant in her arms, who, with, a 
 wreath in his right hand is about to place it upon the head 
 of Elizabeth. Mary looks away from this group to John, 
 held by Joseph, and Zacharias on his knees, who is pre- 
 sented to her. Behind Zacharias is an open landscape, 
 and at the opposite corner is an angel with his face and 
 arm extended upwards. Pen afid Indian ink wash. 
 H. 8| in. W. io£ in. 
 
 * PAOLO CAGLIARI (detto Paolo Veronese). 
 
 251. Queen of Sheba's Visit to Solomon. The scene is a state 
 
 apartment in the palace, where, upon a throne on the left, 
 is seated Solomon in conversation with the Queen, attended 
 by the officers of the court ; servants are bringing in pre- 
 
VENETIAN SCHOOL. 
 
 57 
 
 sents brought from the south, which are being placed 
 before the king. Sepia wash. 
 
 H. 4^ in. W. 16 in. 
 
 Ex Collection John Barnard and Marquis Lagoy. 
 
 * PAOLO CAGLIARI (detto Paolo Veronese). 
 
 252. The Marriage at Cana. A study for the picture in the 
 
 School of the Fine Arts at Venice. Sepia wash. 
 H. I2| in. 2i£ in. 
 
 * PAOLO CAGLIARI (detto Paolo Veronese). 
 
 253. St. Mark. Study of a Man seated with his left arm resting 
 
 upon the fore edge of a book ; full drapery, one end of 
 which is brought over the left thigh. Sepia wash. 
 
 H. il| in. W. 8^ in. 
 
 Ex Collection J. P. Zoomes. 
 
 JACOPO DA PONTE (detto II Bassano). 
 
 Nat. 1535. Ob. 
 
 254. The Nativity. Indian i?ik washed, heightened with white on 
 
 grey paper. 
 
 H. I2£ in. W. 10 in. 
 
 This is probably a study for the picture painted in the Church of San 
 Giuseppe at Bassano. 
 
 GIACOPO PALMA (detto II Giovane). 
 Nat. 1544. Ob. 1628. 
 
 255. A sketch of two naked Females. 'Pen, heightened with white 
 
 on grey paper. 
 
 H. log in. W. 8f in. 
 
 Ex Collection John Macgowan. 
 
 GIACOPO PALMA (detto II Giovane). 
 
 256. Diana and her Nymphs bathing, disturbed by Actseon. Pen 
 
 and umber wash. 
 
 H. 8 in. W. \o\ in. 
 
 Ex Collection Jonathan Richardson. 
 
58 
 
 VENETIAN SCHOOL. 
 
 * GIACOPO PALM A (detto II Giovane). 
 
 257. The Virgin in Glory. The holy mother, with her hands in 
 
 the attitude of prayer, is ascending in the clouds, supported 
 by cherubim, two of which are in the act of crowning her ; 
 on her left are the four Evangelists, kneeling in adoration ; 
 and on the opposite side a similar group, the principal being 
 a mitred bishop with his crozier. Pen, aiid sepia wash. 
 
 H. ill in - W. 8 in. 
 
 Ex Collection J. P. Zoomcs. 
 
 G. B. TIEPOLO. 
 Nat. 1697. Ob. 1769. 
 
 258. Composition of several figures. Pen and bistre wash. 
 
 H. |l£ in. W. 7£ in. 
 
 Ex Collection . Mark unknown. 
 
 * G. B. TIEPOLO. 
 
 259. John baptizing Jesus. The Saint, with his symbolic 
 
 staff, is partly kneeling upon a stone under two trees, 
 pouring water on the head of the kneeling Saviour upon 
 whom the Holy Spirit is descending. Pen and bistre 
 wash. 
 
 H. 1 if in. W. 9 in. 
 
 ANTONIO CANALETTO. 
 Nat. 1697. Ob. 1768. 
 
 260. A View in the Environs of Venice. In the foreground are 
 
 two figures by the side of a canal ; the city is seen in the 
 distance. Pen and bistre wash. 
 
 H. 7£ in. W. iof in. 
 
 ANTONIO CANALETTO. 
 
 261. Exterior View of a Palace, with colonnade entrance, in front 
 
 of which is a fountain. Pen and bistre, washed with Indian 
 ink. 
 
 H. 9^ in. W. 14 in. 
 
VENETIAN SCHOOL. 
 
 59 
 
 ANTONIO CANALETTO. 
 
 262. An Italian View. In the centre is a water-mill with a figure 
 ascending a flight of steps. To the right a man is pushing 
 off a boat. To the left are ruins of an ancient tomb, on the 
 top of which are two men, one of them holding a long pole. 
 Pen and bistre, washed with Itidian ink. 
 
 H. gl in, W. 14^ in. 
 
 ANTONIO CANALETTO. 
 
 263. The Interior of a Courtyard, surrounded by a Palace. In 
 
 the foreground are various figures. Pen and bistre, washed 
 with Indian ink, 
 
 H. 18 in. W. 13! in. 
 
 ANTONIO CANALETTO. 
 
 264. Interior of a Saloon, with a Musical Party. Pen and bistre. 
 
 H. 2| in. W. 6 in. 
 
 * ANTONIO CANALETTO. 
 
 265. Buildings on the Bank of a River. In the centre of the view is 
 
 a temple with three columns surmounted by a statue, and 
 over a pilaster of the same building is an urn. Seen 
 through an arch are two houses, and at the side of the 
 temple is a fort with a house. A man is hauling up the 
 sail of a boat to which a boy is running, followed by a man 
 with a basket on his arm. Pen and Indian ink wash. 
 H 9 in. W. %\ in. 
 
 FRANCESCO GUARDI. 
 
 Nat. 1712. Ob. 1793. 
 
 266. The Grand Staircase of a Palace in Venice, with several 
 
 figures ascending. Pen and bistre, washed with Indian ink. 
 H. J 7 in. W. \\ \ in. 
 
6o 
 
 VENE TIA N SCHO OL . 
 
 FRANCESCO GUARDI. 
 
 267. A Landscape, in the centre of which runs a river on which 
 
 is a boat with two figures ; on either bank are other 
 figures. Pen and bistre wash. 
 
 H. io£ in. W. in. 
 
 FRANCESCO GUARDI. 
 
 268. A View in Venice, with buildings on a bridge of three 
 
 arches over a canal, on which are several gondolas with 
 figures. Pen and bistre, washed with India?i ink. 
 H. 11 in. W. I7f in. 
 
 FRANCESCO GUARDI. 
 
 269. An Exterior, representing the ruins of a palace, with various 
 
 figures. Pen and bistre, washed mith Indian ink. 
 H. I7f in. W. 1 if in. 
 
 * FRANCESCO GUARDI. 
 
 270. Ruined Buildings and Figures. On the right of the view is 
 
 a palace, the ascent to which is by a grand flight of steps, 
 like the Scala at Venice. Other buildings adjoining this 
 may be seen through the ruins of an arch, and a small 
 building attached to it with a dome. Two Venetian poles 
 are raised in the background, and figures are introduced. 
 Pen and sepia wash. 
 
 H. 9 in. W. 7£ in. 
 
 GIARDINI. 
 Nat. . Ob. . 
 
 271. Design for an emblematical ornamented frame. Pen and 
 
 bistre wash. 
 
 H. 1 6* in. W. ill in - 
 
 Ex Collection . 
 
BOLOGNESE SCHOOL. 61 
 
 IBolognese ^cfjooL 
 
 
 
 FRANCESCO PRIMATICCIO. 
 Nat. 1490. Ob. 1570. 
 
 272. A Study for the figures of Diana and Actaeon. A circular 
 
 drawing. Red chalk, heightened with white. 
 
 Diameter 4^ in. 
 Ex Collection Charles Rogers and Sir Thomas Lawrence. 
 
 PELLEGRINO TIBALDI. 
 Nat. 1527. Ob. circa 1598. 
 
 273. The Three Graces standing under a palm-tree. Pen and 
 
 bistre, heightened with white 011 a grey ground. 
 
 H. 11$ in. W. 7f in. 
 
 Ex Collection Sir Thomas Lawrence. 
 
 * PELLEGRINO TIBALDI. 
 
 274. The Nativity of St. John. A composition of many figures. 
 
 The principal group is formed by two females, an older and 
 a younger, performing the necessary ablutions to the new- 
 born babe, which the younger of the two holds; her 
 attention for the moment is arrested by a female on her 
 left preparing a crib for the child. On the right of the 
 elder female is a group of women with swaddling clothes 
 held over a chafing dish. Two matrons, each with a child, 
 stand behind the crib in conversation, and in the back- 
 ground, the composition is carried out by a male and 
 female bringing presents. At the right corner Zachariah 
 is seated listening to an older man, who with two 
 other men have arrived, and are talking over the 
 miraculous birth. In the foreground two children un- 
 conscious of the scene, are playing with a dog. In the 
 
62 
 
 BOLOGNESE SCHOOL. 
 
 left corner is the aged Elisabeth, attended by four females, 
 on a couch; a canopy over her head is held by three 
 cherubim ; a door in the apartment leads to a kitchen in 
 which servants are preparing a repast. Over the door is 
 an angel with cherubim supporting a book on which is 
 the word ' Nativitate? Through another opening in the 
 room is seen the portico of a temple with a rocky back- 
 ground, on which stand two Shepherds, and the Wise Men 
 of the East, to whom is appearing an angel with a palm- 
 branch. Pen and Indian ink, heightened with white. 
 
 H. 15 in. W. 23^ in. 
 
 Ex Collection Count Gelozzi. 
 
 PELLEGRINO TIBALDI. 
 
 275. The Birth of St. John. A study for the principal group in 
 
 the foreground of the preceding drawing. Pen a?id bistre, 
 heightened with white. 
 
 H. 1 1| in. W. 21 in. 
 
 BARTOLOMEO PASSEROTTI. 
 Nat. circa 1540. Ob. 1595. 
 
 276. St. George delivering the Daughter of the King of Cappa- 
 
 docia. Pen and bistre. 
 
 H. 20 in. W. 13^ in. 
 
 Ex Collection Baron Denon. 
 
 CAMILLO PROCACCINO. 
 
 Nat. 1546. Ob. 1626. 
 
 277. An architectural and emblematical Design for an Altar 
 
 Piece. Bistre and Indian ink. 
 
 H. 154 in. W. 9^ in. 
 
 CAMILLO PROCACCINO. 
 
 278. A group of Boys and Angels in the clouds, protected by the 
 
 Deity. On the reverse a Study of two figures. Pen and 
 bistre, washed. 
 
 H. I2| in W. 8f in. 
 
BOLOGNESE SCHOOL. 
 
 63 
 
 *CAMILLO PROCACCINO. 
 
 279. The Repose in Egypt. The Virgin seated on the ground 
 under a tree is suckling her child ; behind is Joseph leaning 
 upon the ass's neck comtemplating the group. Rustic 
 buildings are introduced on the right of the drawing; 
 showing the termination of their flight. Red chalk. 
 
 H. *j\ in. W. 1 if in. 
 
 * CAMILLO PROCACCINO. 
 
 280. Jupiter and Leda. Leda in the clouds is caressing the Swan, 
 
 whose wings are extended. Two children at the bottom 
 of the drawing form part of the group. Formerly of an 
 elliptic shape, the top and bottom of which are cut away. 
 Pen and sepia. 
 
 H. in. W. 9 in. 
 
 Ex Collection Charles I. 
 
 LUDOVICO CARACCI. 
 Nat. 1555. Ob. 1619. 
 
 281. Study for Venus and Adonis. Black chalk. 
 
 H. I2| in. W. 9I in. 
 
 Ex Collection Sir J-os/uia Reynolds and Sir Thomas Lawrence. 
 
 LUDOVICO CARACCI. 
 
 282. Study of a Female Head, looking upwards. Black chalk. 
 
 heightened with white 011 grey paper. 
 
 H. 15 in. W. \\\ in. 
 
 LUDOVICO CARACCI. 
 
 283. A Sketch for the Assumption of the Virgin Mary, attended 
 
 by angels. Bistre and Indian ink. 
 
 H. 15I in. W. 12 in. 
 
 LUDOVICO CARACCI. 
 
 284. A Madonna and child, on the reverse a sketch of Dragons. 
 
 Pen and sepia wash. 
 
 H. %\ in. W. 6f in. 
 
 Ex Collection Lord Spencer. 
 
6 4 
 
 BOLOGNESE SCHOOL. 
 
 LUDOVICO CARACCI. 
 
 285. A Study for the Adoration of the Shepherds in the Cucini 
 
 Palace at Venice. Pen and Indian ink, heighte?ied ivith 
 white on grey paper. 
 
 H. 7£ in. W. iof in. 
 
 Ex Collection Sir Joshua Reynolds. 
 
 LUDOVICO CARACCI. 
 
 286. St. Francis receiving from the Virgin Mary the Infant Christ. 
 
 Pen and bistre wash. 
 
 H. 6 in. W. 61 in. 
 
 * LUDOVICO CARACCI. 
 
 287. The Virgin reading to the Child Jesus. The Virgin is 
 
 seated before a column, with the infant standing upon her 
 knees ; she holds in her right hand a book upon which 
 both are attentively gazing. Circular on coloured paper, 
 heightened with white. 
 
 H. in. W. 7i in. 
 Engraved in Metz's imitations. 
 
 * LUDOVICO CARACCI. 
 
 288. The Study for a Picture of the Salvator Mundi. Pen and 
 
 bistre wash. 
 
 H. 7£ in. W. 4i in. 
 
 LUDOVICO CARACCI. 
 
 289. Study of a Madonna and Child, after Raffaelle. Pen and 
 
 bistre wash. 
 
 H. 8 in. W. 7l in. 
 
 AGOSTINO CARACCI. 
 Nat. 1558. Ob. 1602. 
 
 290. The Nativity with the Adoration of the Shepherds. Pen 
 
 and bistre. 
 
 H. 15I in. W. 9! in. 
 
 Ex Collection Jonathan Richardson and Sir Joshua Reynolds. 
 
BOLOGNESE SCHOOL. 
 
 65 
 
 *AGOSTINO CARACCI. 
 
 291. Procession of Clement VIII. to Bologna. The procession is 
 
 represented winding along a mountainous path, taken at 
 the time when the Pope's Car, borne by two horses, has 
 reached the centre of the picture. He is attended by his 
 guard, and seen through the window apparently bestowing 
 a benediction. The Papal arms are represented upon the 
 panel. The party are preceded by the representatives of 
 the Vatican carrying their insignia of office, headed by 
 troops with flags, baggage, waggons, &c. The Car is 
 followed by Cardinals on horseback attended by troops, 
 &c. similar to those in the van. Sundry notes are written 
 by the Artist to assist him in painting the subject. Bistre 
 wash. 
 
 H. \o\ in. W. 15 in. 
 
 Ex Collection Crozat, Mariette, and William Esdaile. 
 
 *AGOSTINO CARACCI. 
 
 292. Study of three Female Heads. Two of them in profile. 
 
 Pen and bistre. 
 
 H. 51 in. W. 6|. 
 
 ANNIBALE CARACCI. 
 Nat. 1560. Ob. 1609. 
 
 293. A Study of a Monk kneeling. Drawn with a stump. 
 
 H. 12 in. W. 81 in. 
 
 Ex Collection Sir Joshua Reynolds. 
 
 ANNIBALE CARACCI. 
 
 294. Study of a Peasant leaning on a Staff, and with his left foot 
 
 resting on a block of peculiar construction. On the reverse 
 another study of the same figure in a different attitude. 
 Both drawn in red chalk. 
 
 H. 14^ in. W. 7! in. 
 
 F 
 
66 
 
 BOLOGNESE SCHOOL. 
 
 ANNIBALE CARACCI. 
 
 295. An academical Study, of a Man seated, and leaning on one 
 
 hand. Red chalk. 
 
 H. I2f in. W. 10$ in. 
 
 ANNIBALE CARACCI. 
 
 296. The Ascension of Christ. A Study for the large picture in 
 
 the Gallery of the Louvre. Pen and bistre. 
 
 H. 11 in. W. 8 in. 
 
 ANNIBALE CARACCI. 
 
 297. Two Studies of Hercules strangling the Nemean Lion; 
 
 forming one of the series of the Labours of Hercules painted 
 in the Farnese Gallery at Rome. Red chalk, heightened 
 with white. 
 
 H. 14 in. W. 7f in. 
 
 Ex Collection Lord Bagot. 
 
 * ANNIBALE CARACCI. 
 
 298. A Pastoral Landscape. Pen and bisfre. 
 
 H. 9! in. W. 7} in. 
 
 * ANNIBALE CARACCI. 
 
 299. Head of a Man. Red chalk. 
 
 H.i if in. W. 75 in. 
 
 * ANNIBALE CARACCI. 
 
 300. The Virgin appearing to St. Francis. Pen and bistre. 
 
 H. iof in. W. 7f in. 
 
 * ANNIBALE CARACCI. 
 
 301. Study of a Man seated upon the ground. Red chalk, 
 
 H. 17I in. W. 1 if in. 
 
BOLOGNESE SCHOOL. 
 
 67 
 
 * ANNIBALE CARACCI. 
 
 302. Study of a Man. Red chalk. 
 
 H. i6| in. W. iofin. 
 
 Ex Collection Richardson, Dr. Mend, and John Barnard. 
 
 * ANNIBALE CARACCI. 
 
 303. Study for the Boatman in the picture belonging to the Earl 
 of Carlisle. Red chalk on blue paper. 
 
 H. 144 in. W. 8f in. 
 
 * ANNIBALE CARACCI. 
 
 304. Circe giving the Cup to Ulysses. The study for the Fresco 
 
 in the Cabinet of the Farnese. Faint pen and sepia wash. 
 H. 6\ in. W. Si in. 
 
 Ex Collection Sir Peter Lely and Jonathan Richardson. 
 
 * ANNIBALE CARACCI. 
 
 305. A Landscape. On an eminence at the left of the drawing 
 is a castle in ruins; behind is a town on the banks of a 
 river, over which are two bridges, one of wood with a 
 portcullis, the other of stone damming up the back-water 
 of a mill. In the foreground is a shepherd with his dog 
 asleep, and behind him a shepherd also with a dog at- 
 tending a flock of sheep. Mountains in the distance, with 
 the river flowing at their base. Pen and bistre. 
 
 H. 8| in. W. 13^ in. 
 
 * ANNIBALE CARACCI. 
 
 306. A Landscape with a Waterfall. The scene is in the vicinity 
 of a town seen in the distance. On the foreground, to 
 the left of the view, is a man mowing, and on the right is 
 the fall. The composition is broken in the centre by a 
 group of trees Pen and bistre. 
 
 H 11 in. W. i6£ in. 
 
68 
 
 BOLOGNESE SCHOOL. 
 
 *ANNIBALE CARACCI. 
 
 307. Mercury giving to Paris the Apple of Discord. (Study for 
 
 the picture in the Gallery of the Farnese.) Paris, with his 
 dog before him, is seated on a bank at the right of the 
 drawing holding in his left hand a staff, the other hand 
 is extended to receive the apple which the descending 
 Mercury is giving to him. A landscape background. 
 Pen and umber wash. 
 
 Octagon. H. \2\ in. W. 9I in. 
 
 # ANNIBALE CARACCI. 
 
 308. Study for the figure of Socrates whilst engaged at the Siege 
 
 of Potidaea. Red chalk. 
 
 H. 14I in. W. 7f in. 
 
 Ex Collection Sir Joshua Reynolds. 
 
 ANNIBALE CARACCI. 
 
 309. Study of a Male Figure, seated on a stone. Black chalk, 
 
 heighte?ied with white on blue paper. 
 
 H. 14J in. W. 18 in. 
 
 Ex Collection . Unknown mark. 
 
 ANNIBALE CARACCI. 
 
 310. A Landscape. In the foreground a river with a boat and 
 
 two figures, over which is a bridge, on the bank are 
 some lofty buildings. Pen and bistre. 
 
 H. \o\ in. W. i6| in. 
 Ex Collection Comte de Fries. 
 
 ANNIBALE CARACCI. 
 
 311. A Landscape and Figures. Pen and bistre. 
 
 H. 13^ in. W. 2o£ in. 
 
 ANNIBALE CARACCI. 
 
 312. A Landscape, with a very large tree in the foreground; to 
 
 the right, the figure of Christ with two of His disciples 
 going to Emmaus. Pen and bistre. 
 
 H. 16J in. W. 2o| in. 
 
BOLOGNESE SCHOOL. 
 
 69 
 
 MICHELANGIOLO AMERIGI DA CARAVAGGIO (detto 
 Caravaggio). 
 
 Nat. 1569. Ob. 1609. 
 
 313. Soldiers and others playing at Cards on a Tombstone. Pen 
 
 and bistre wash. 
 
 H. \\\ in. W. 17 in. 
 
 MICHELANGIOLO AMERIGI DA CARAVAGGIO (detto 
 Caravaggio). 
 
 314. The Return of the Prodigal Son. A composition of five 
 
 figures. Indian ink. 
 
 H. 15I in. W. 9 in. 
 
 Ex Collection Jonathan Richardson. 
 
 GUIDO RENT 
 
 Nat. 1574. Ob. 1642. 
 
 315. The Death of a Saint; surrounded by several figures. In 
 
 the clouds above is God the Father, attended by angels. 
 Pen and bistre, washed with Indian ink. 
 
 H. 7i in. W. Si in- 
 
 GUIDO RENI. 
 
 316. A Landscape with the Virgin, Infant Saviour, and St. John ; 
 
 two cherubim floating in the air above them. Red chalk, 
 pen and bistre wash. 
 
 H. 6 in. W. 7f in. 
 
 GUIDO RENI. 
 
 317. A Study for the Head of a Female, looking up. Black and 
 
 red chalk, heightened with white on grey paper. 
 H. 9f in. W. 7 in. 
 
 GUIDO RENI. 
 
 318. A Study for the Head of a Madonna. Black chalk, 
 
 heightened with white on grey paper. 
 
 H. 9f in. W. 8| in. 
 
7° 
 
 BOLOGNESE SCHOOL. 
 
 GUIDO RENI. 
 319. A Study for the Head of an Apostle. Red chalk. 
 
 H. 15! in. W. 11 in. 
 
 Ex Collection G F. 
 
 On the back is written, 'Rome 1828, G. F. This Head by Guido was 
 presented to me by Vallati the painter.' 
 
 GUIDO RENI. 
 
 320. The Assumption of the Virgin. A composition, with nu- 
 
 merous figures ; a study for the picture at Bologna. Pen 
 and bistre wash. 
 
 Arched top. H. 15I in. W. 11 J in. 
 
 GUIDO RENI. 
 
 321. The Glorification of St. Cecilia. She is represented ascend- 
 
 ing to heaven accompanied by numerous angels; cherubim 
 and seraphim playing upon various instruments of music. 
 Pen and bistre, heightened with white. 
 
 Oval. H. 18 £ in. W. i6f in. 
 
 * GUIDO RENI. 
 
 322. Study of the back of a Peasant seated on the ground. Red 
 chalk. 
 
 H. S| in. W. 5£ in. 
 
 Ex Collection Count Gelozzi. 
 
 * GUIDO RENI. 
 
 323. Study for the Madonna in Glory, on the reverse the study 
 of a Woman. Pen and sepia. 
 
 Oval. H. 5 in. W. 4^ in. 
 
 * GUIDO RENI. 
 324. Head of a Man looking upwards. Black and red chalk, 
 the eyes slightly heightened with white. 
 
 H \\\ in. W. 8£ in. 
 
BOLOGNESE SCHOOL. 
 
 7i 
 
 *GUIDO RENI. 
 
 325. Head of a Female. Black and red chalk. 
 
 H. 9i in. W. 7 in. 
 
 *GUIDO RENI. 
 
 326. The Assumption of the Virgin. A study in red chalk and 
 
 washed. 
 
 Octagon top. H. 3^ in. W. d\ in. 
 
 Ex Collection Charles I. 
 
 FRANCESCO ALBANO. 
 Nat. 1578. Ob. 1660. 
 
 327. A Group of Cupids floating in the Air. Red chalk. 
 
 H. 7f in. W. iof in. 
 
 FRANCESCO ALBANO. 
 
 328. Venus and Adonis, attended by Cupid. Red chalk. 
 
 H. 11 in. W. 10 in. 
 
 Ex Collection . Unknown mark. 
 
 On the reverse a Saint in ecstasy before the Virgin and' Child. 
 
 FRANCESCO ALBANO. 
 
 329. Venus in her Car, drawn by Doves and attended by Cupid 
 
 and Nymphs. Pen and bistre, washed with indigo. 
 H. 8f in. W. 12 in. 
 
 FRANCESCO ALBANO. 
 
 330. A Composition, representing the Descent of the Holy Ghost 
 
 in the midst of a mass of clouds, surrounded by cherubim 
 and seraphim. Pen and bistre wash. 
 
 H. 9£ in. W. i6i in. 
 
 Ex Collection . 
 
 * FRANCESCO ALBANO. 
 
 331. Apollo and Daphne. Black and red chalk. 
 
 H. 81 in. W. i\\ in. 
 
 Ex Collection Robert Udney and William Esdaile. 
 
72 
 
 BOLOGNESE SCHOOL. 
 
 DOMENICO ZAMPIERI (detto Domenichino). 
 Nat. 1581. Ob. 1641. 
 
 332. St. Jerome reading. Red chalk, heightened with white. 
 
 H. 8f in. W. 9I in. 
 
 DOMENICO ZAMPIERI (detto Domenichino). 
 
 333. The Finding of Moses ; Pharaoh's Daughter and her Maidens 
 
 looking at the infant in the cradle of Bulrushes. Pen and 
 bistre. 
 
 H. 8 in. W. 7^ in. 
 
 Ex Collection Marquis de Lagoy and Lempereur. 
 
 * DOMENICO ZAMPIERI (detto Domenichino). 
 
 334. St. Francis. A study in red chalk. 
 
 H. 13I in. W. \o\ in. 
 
 * DOMENICO ZAMPIERI (detto Domenichino). 
 
 335. Head of an Old Man. Black chalk on grey paper. 
 
 H. 13J in. W. 9 in. 
 
 * DOMENICO ZAMPIERI (detto Domenichino). 
 
 336. A Landscape, with a castle upon an eminence and two figures 
 
 walking along a road. Pen and bistre. 
 
 H. Si in. W. 8f in. 
 
 Ex Collection P. Muriette. 
 
 * DOMENICO ZAMPIERI (detto Domenichino). 
 
 337. The Virgin bestowing her Benediction upon the Evangelists 
 
 Matthew and Mark. The Virgin stands between the 
 kneeling apostles, with her arms extended over their heads, 
 and appears in the act of pronouncing a blessing, her 
 face turned towards Mark. Two cherubs are floating over 
 her head, holding in their hands a crown of glory. Pen 
 and umber wash, on grey paper, heightened with white. 
 H. 
 
BOLOGNESE SCHOOL. 
 
 73 
 
 * DOMENICO ZAMPIERI (detto Domenichino). 
 
 338. The Martyrdom of St. Stephen. The scene is represented 
 
 outside Jerusalem. The saint, with his back towards the 
 spectator, is on his knees, with his hands and face raised 
 to heaven, in the act of uttering that memorable prayer, 
 ' Lord, lay not this sin to their charge.' Behind him is an 
 old man, his face expressive of malignity, yet, like all the 
 other figures, arrested for the moment in completing the 
 martyrdom, for which, with stones in their hands, they 
 were prepared. At the right of this figure is the young 
 man Paul, who, with arm upraised, pauses, as if with pre- 
 admonition of his guilt in consenting to the saint's death, 
 his face exhibiting the varied emotions of enthusiasm, 
 horror, and pity. Numerous other figures complete the 
 scene. Pen and Indian ink wash. 
 
 H. 13! in. W. 1 1| in. 
 
 * DOMENICO ZAMPIERI (detto Domenichino). 
 
 339. A Landscape, with Men playing at the Discus. Pen and 
 
 ink. 
 
 H. 3| in. W. 1 of in. 
 
 DOMENICO ZAMPIERI (detto Domenichino). 
 
 340. A Landscape. In the foreground is a man seated sketch- 
 
 ing ; in the background a numerous herd of cattle, in the 
 rear of which is a large building. Pen and bistre. 
 H. \i\ in. W. Z\ in. 
 
 Ex Collection Thomas Dimsdale. 
 
 DOMENICO ZAMPIERI (detto Domenichino). 
 
 341. A Landscape. In the foreground are three boats and figures ; 
 
 and in the middle distance a bridge, at one end of it a 
 round tower adjoining an aqueduct. Pen and bistre. 
 H. 5$ in. W. 19I in. 
 
 Ex Collection Jonathan Richardson. 
 
74 
 
 BOLOGNESE SCHOOL. 
 
 * GIOVANNI LANFRANCO. 
 Nat. 1581. Ob. 1647. 
 
 342. Study for an Angel, in a Picture in the Church of St. Andrea 
 
 della Valle at Rome. The angel holds an inscription over 
 her head, with the words, ' Qidd ?iojnen est super meum 
 nomen.* Sepia wash, o?i blue paper, heightened with white. 
 H. 13^ in. W. 9! in. 
 
 GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 da Cento). 
 Nat. 1590. Ob. 1666. 
 
 343. The Delivery of St. Peter from Prison. Red chalk. 
 
 H. 7f in. W. iif in. 
 
 GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 da Cento). 
 
 344. Flora. A sketch for the figure of the goddess distributing 
 
 flowers. Pen and bistre. 
 
 H. 8* in. W. 10 in. 
 
 Ex Collection Robert Udney and William Esdaile. 
 
 GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 da Cento). 
 
 345. A young Female teaching a little Boy to read, and gathering 
 
 a Flower. Delicately drawn with red chalk. 
 
 H. io| in. W. *]\ in. 
 
 GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 da Cento). 
 
 346. A Sketch of a Man in deep Meditation ; holding his hands 
 
 clasped across his breast, and looking upwards. Pen and 
 bistre. 
 
 H. 7f in. W. 61 in. 
 
 GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 da Cento). 
 
 347. A Landscape with a River flowing through it ; a cowherd 
 
 and a woman at his side are reclining on its banks ; 
 
BCLOGNESE SCHOOL, 
 
 75 
 
 facing them a cow is reposing ; to the left a man on horse- 
 back is going down to the river, and on the opposite bank 
 is a lofty mountain. Pen and bistre wash. 
 
 H. 7 in. W. n£ in. 
 
 GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 da Cento). 
 
 348. Two Old Men conversing. Pen and bistre. 
 
 H. 8f in. W. 8£ in. 
 
 GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 da Cento). 
 
 349. A Study for the Head of a young Man, with a cap and 
 
 feathers. Pen and bistre. 
 
 H. 9f in. W. 7j in. 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 350. A mountainous Landscape. In the distance is seen a hill 
 
 rising, with a figure before it. Upon a sort of table-land 
 are buildings, and nearer to the spectator, on the right, is a 
 somewhat similar hill, also with a building. Two men are 
 in conversation in the foreground, and in the left corner is 
 a finger-post, by which is a woman carrying a child, followed 
 by a boy. Pen and bistre. 
 
 H. io£ in. W. i6f in. 
 Ex Collection Robert Udney and William Esdaile. 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 351. Study of a Group of Rustic Figures. Red chalk. 
 
 H. 135 in. W. ioiin. 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 352. Study of a Young Man contemplating the Scores of a Piece 
 
 of Music. Pen and bistre. 
 
 H. 9! in. W. 7| in. 
 
7 6 
 
 BOLOGNESE SCHOOL. 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 353. St. Francis. Pen and sepia. 
 
 H. 9 in. W. 6 in. 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 354. Abraham and Isaac. A study. Pen and sepia. 
 
 H. \ i\ in. W. 9 in. 
 
 Ex Collection Count De Fries. 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 355. The Virgin reading. A study in pen and umber wash. 
 
 H. 9f in. W. n\ in. 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 356. A Nymph burning the Implements of Cupid. She is partly 
 
 draped, and, resting upon one knee, holds in her right hand 
 a lighted torch, with which she is setting fire to the bow, 
 quiver, and arrows. Cupid, in an attitude of grief, is flying 
 away. A landscape background. Red chalk. Elliptic top. 
 H. iof in. W. 1 if in. 
 Ex Collection John Barnard and Baron Denon. 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 357. A Landscape. A champagne country, with a stream flowing 
 
 through a portion of the middle distance. On the left is a 
 tower, with a cottage ; on the right, behind two trees, a 
 church, and other buildings are introduced. Mountains 
 rising in the distance. Pen and ink. 
 
 H. 11 in. W. 15^ in. 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 358. A Sheet of Studies. Pen and ink. 
 
 H. 8| in. W. \o\ in. 
 
BOLOGNESE SCHOOL. 
 
 77 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 359. A Woody Landscape. Pen and bistre. 
 
 H. n in. W. 15I in. 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 360. Landscape with Figures. A man with a gun over his 
 
 shoulder is addressing three men on the road ; two other 
 persons are ascending a hill in the distance ; and in the 
 foreground a man and woman are resting upon a stone by 
 the wayside, with a child standing beside them. Pen and 
 bistre. 
 
 H. 9| in. W. i6f in. 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 361. Study of a Man with his Hands clasped. Red chalk. 
 
 H. 8 in. W. 8J in. 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 362. A Landscape. In the centre of the drawing is a group of 
 
 trees ; behind them, on the left, a castle, with other 
 buildings, and on the road at the opposite side some men 
 in conversation. Pen and bistre. 
 
 H. 7| in. W. iof in. 
 
 * GIOVANNI FRANCESCO BARBIERI (detto Guercino 
 
 da Cento). 
 
 363. A Landscape. A group of figures in the foreground in con- 
 
 versation. Two figures upon a hill in the distance, walking 
 towards a building. Pen and bistre. 
 
 H. 7^ in. W.i if in. 
 
78 
 
 BOLOGNESE SCHOOL. 
 
 GIO. FRANCESCO GRIMALDI (detto Bolognese). 
 Nat. 1606. Ob. 1680. 
 
 364. A Landscape with Buildings. Signed. Pen and bistre wash. 
 
 H. 8 in. W. ii| in. 
 
 Ex Collection Jonathan Richardson and Benjamin West, P.R.A. 
 
 On the reverse is a sketch of ancient buildings in Rome, with the Cloaca 
 Maxima. 
 
 *GIO. FRANCESCO GRIMALDI (detto Bolognese). 
 
 365. A Landscape with a River in the distance. In the fore- 
 
 ground a pathway leads to the water, on the border of which 
 a man is standing with a stick or gun ; a group of trees 
 on each side of the path, and in the middle distance are 
 other trees and a portion of a building ; in the extreme 
 distance high hills and a river upon which a boat is 
 sailing. On the back of the drawing are other sketches 
 which show through the paper. Pen and bistre. 
 H. 10J in. W. 8| in. 
 
 * GIO. FRANCESCO GRIMALDI (detto Bolognese). 
 
 366. A Landscape. With a river on the left, and with buildings 
 
 011 its bank. Pen and bistre. 
 
 H. 8| in. W. 12 in. 
 
 * GIO. FRANCESCO GRIMALDI (detto Bolognese). 
 
 367. A Rocky Landscape, through which is a road leading to a 
 
 castellated building. Pen and bistre. 
 
 H. n| in. W. Sin. 
 
 * GIO. FRANCESCO GRIMALDI (detto Bolognese). 
 
 368. A Woody Landscape with an effect of wind. Pen and bistre. 
 
 H. \\\ in. W. %\ in. 
 
 Ex Collection William Esdaile. 
 
 *GIO. FRANCESCO GRIMALDI (detto Bolognese). 
 
 369. Landscape. A Chateau in the distance surmounted with 
 
 statues at each corner. Pen and bistre. 
 
 H. \ \\ in. W. 8* in. 
 
 Ex Collection Benjamin West. 
 
BOLOGNESE SCHOOL. 79 
 
 * GIO. FRANCESCO GRIMALDI (detto Bolognese). 
 
 370. A Landscape with a fortified city on the banks of a river. 
 
 Pen and bistre, on coloured paper. 
 
 H. 4? in. W. 9f in. 
 
 * GIO. FRANCESCO GRIMALDI (detto Bolognese). 
 
 371. A Landscape with a city in the distance. Pen and bistre, on 
 
 coloured paper. 
 
 H. 4^ in. W. 9I in. 
 
 *GIO. FRANCESCO GRIMALDI (detto Bolognese). 
 
 372. A Landscape, with a round tower in the distance. A simi- 
 
 lar sketch on the reverse. Pen and bistre. 
 
 H. i2i in. W. 8f in. 
 
 Ex Collection Jonathan Richardson, De Fries, and Sir Joshua Reynolds. 
 
 SIMONE CANTARINI (da Pesaro). 
 Nat. 1612. Ob. 1648. 
 
 373. The Virgin Mary, Infant, and St. John. Bistre, heightened 
 
 with white. 
 
 H. 4 in. W. 3f in. 
 
 Ex Collection G. F. 
 
 * SIMONE CANTARINI (da Pesaro). 
 
 374. Studies for the Madonna and Child, and for the Holy 
 
 Family. Pen and bistre. 
 
 H. iof in. W. f s in. 
 
 Ex Collection Mariette and Count De Fries. 
 
 * SIMONE CANTARINI (da Pesaro). 
 
 375. The Virgin reading. The Virgin seated on the ground is 
 
 resting against the stems of two trees growing in a 
 wooded landscape, her head supported by her right hand ; 
 on her lap a book. On the right hand side of the 
 
8o 
 
 BOLOGNESE SCHOOL. 
 
 drawing is the hand of a child in the act of offering her an 
 apple. A portion of the study for a larger subject. Bistre 
 wash. 
 
 H. 7* in. W. si in. 
 
 Ex Collection Count Gelozzi. 
 
 PIETRO FRANC ESC A MOLA. 
 
 Nat. 1612. Ob. 1668. 
 
 376. A group of five figures, sketched from nature. Pen and bistre 
 
 washed. 
 
 H. 7f in. W. 1 if in. 
 
 Ex Collection William Esdaile. 
 
 * PIETRO FRANCESCA MOLA. 
 
 377. The Apotheosis of the Virgin. The study for a picture. 
 
 Pen and bistre. 
 
 H. 6f in. W. sk in - 
 
 * PIETRO FRANCESCO MOLA. 
 
 378. The Baptism of Christ. Jesus and John form the principal 
 
 group in the foreground. The latter, with his eyes raised 
 to heaven, has just performed the act of baptism, as the 
 voice from heaven represented by the rays of light falling 
 from the sky sounds, 'This is My beloved Son.' The 
 Neophytes in the middle distance, some in a boat, and 
 others on land, express astonishment at the sound, while 
 in the distance by the contrast of action, the voice does 
 not appear to have reached them. In the background is 
 a distant view of the city. Pen and bistre. 
 
 H. 15! in. W. io\ in. 
 
 SALVATOR ROSA. 
 Nat. 1614. Ob. 1673. 
 
 379. A Portrait of the Artist, holding a portfolio under his arm. 
 
 Black chalk, washed with Indian ink. 
 
 H. \\\ in. W. 8 in. 
 
BOLOGNESE SCHOOL. 
 
 Si 
 
 SALVATOR ROSA. 
 
 380. View of an Army on the March. In the foreground is a 
 
 group of four horsemen, to the left a train of artillery, and 
 a man beating a drum. Pen and bistre wash. 
 H. \o\ in. W. 15I in. 
 
 SALVATOR ROSA. 
 
 381. A Sketch of a battle. See back. Pen and bistre. 
 
 H. 6| in. W. I2f in. 
 
 Ex Collection Jonathan Richardson and Lord Spencer. 
 
 * FIAMINGO ENRICO. 
 Nat. 1623. Ob. 1695. 
 
 382. A Female Figure, in a room, looking upwards with an 
 
 expression of terror ; in the background an ornamented 
 chimney-place, with a fire. Pen and bistre, ink washed. 
 H. 1\ in. W. 4f in. 
 Ex Collection Count de Fries and Mariette. 
 
 * CARLO CIGNANI. 
 Nat. 1621. Ob. 1719. 
 
 383. A Saint. Probably a study for one of the Scripture Histories 
 
 at Bologna. The Saint is represented standing upon a 
 cloud, with a staff in his right hand, borne by cherubim 
 to heaven. Beneath the clouds is a wreathed altar, and 
 the drawing is scored for enlarging. Behind the principal 
 figure is a pentemento in black lead showing the care and 
 improvement the Artist bestowed upon the subject. Pen 
 and sepia, washed with Indian ink. 
 
 H. I2f in. W. %\ in. 
 
 BARTOLOMEO BISCAINO. 
 
 Nat. 1632. Ob. 1657. 
 
 384. The Triumph of Amphitrite. Pen and sepia washed. 
 
 H. 4 in. W. 18 in. 
 
 G 
 
82 
 
 BOLOGNESE SCHOOL. 
 
 FERDINANDO GALLI (detto Bibiena). 
 Nat. 1657. Ob. 1 741. 
 
 385. The Interior of a Cathedral. Pen and bistre washed. 
 
 H. 8f in. W. \o\ in. 
 
 DONATO CRETI. 
 Nat. 1679. Ob. 1749. 
 
 386. A Sketch for a Madonna, Infant Christ, and St. John. Peti 
 
 and bistre. Beneath, on the same sheet, is sketched a 
 group of two children. 
 
 H. 8f in. W. 61 in. 
 
 * DONATO CRETI. 
 
 387. Study of Heads. Three female, and two male. Pen and 
 
 bistre. 
 
 H. 7£ in. W. 9^ in. 
 
 Ex Collection Gerard Reynts. 
 
 * DONATO CRETI. 
 
 388. Study of Heads, male and female. Pen and bistre. 
 
 H. 9 f in. W. 7£ in. 
 
 * GIUSEPPE BOTTANI. 
 Nat. 1717. Ob. 1784. 
 
 389. The Assumption of the Virgin. The Virgin is ascending 
 
 from a tomb, borne by three angels, and received amidst 
 a ray of light by cherubs. A landscape with distant hills, 
 water and low bushes in the foreground complete the 
 composition. A skull and scroll r 'are laid at the en- 
 trance to the grave. Pen and bistre, washed with 
 Indian ink. 
 
 H. 1 if in. W. 8 in. 
 
 Ex Collection Count Lagoy. 
 
FLEMISH SCHOOL. 
 
 83 
 
 JAN VAN EYCK. 
 
 Nat. 1370. Ob. 1441. 
 
 390. Portrait of the Poet Ardolff Hillharius. Silver point on 
 
 vellum. 
 
 H. Z\ in. W. 5I in. 
 EARLY FLEMISH SCHOOL. 
 
 Circa 1440. 
 
 391. The Annunciation. The Virgin is represented sitting in a 
 
 chamber, with a book upon her knees ; a vase of flowers 
 stands by her side. Pen and bistre, heightened with white. 
 Circular. Diameter 8J in. 
 
 ROGER VAN DER WEYDEN (called Roger de Bruges). 
 
 Nat. circa 141 5. Ob. 1464. 
 
 392. A Woman brought by her Accusers before a Judge. Silver 
 
 or metal point, heightened with white, on a prepared dark 
 ground. 
 
 Circular. Diameter 9§ in. 
 
 ROGER VAN DER WEYDEN (called Roger de Bruges). 
 
 393. A Young Man kneeling in the attitude of Prayer before a 
 
 dignitary of the Church, who holds in one hand a book, in 
 the other a heart ; behind him a sanctified personage holds 
 a bunch of lilies and three doves. Drawn with a silver 
 point, heightened with white, on a prepared ground. 
 H. 9 in. W. 8| in. 
 
8 4 
 
 FLEMISH SCHOOL. 
 
 MICHAEL COCK. 
 
 Nat. 1500. Ob. 1554. 
 
 394. A Landscape, with a group of trees in the foreground. To 
 
 the left is a man seated on a bank in conversation with 
 another, accompanied by a dog ; to the right several small 
 groups of trees interspersed with buildings. A river runs 
 through the centre. Pen and bistre, slightly tinted with 
 colour, and signed M. Cock feet. 1527. 
 
 H. 7f in. W. io| in. 
 
 PETER BREUGHEL (called the Old). 
 
 Nat. 15 10. Ob. 1570. 
 
 395. A River Scene. In the foreground three boats with figures ; 
 
 in the rear are houses and trees. Pe?i and bistre. 
 H. 6f in. W.i if in. 
 
 PETER BREUGHEL (called the Old). 
 
 396. A River Scene, with trees and houses interspersed on either 
 
 bank. To the left three boats moored alongside, in which 
 are several figures ; in the centre another boat and figures. 
 Pen and bistre, slightly tinted with colour. 
 
 H. 7| in. W. 121 in. 
 
 PETER BREUGHEL (called the Old). 
 
 397. A Landscape. In the foreground a group of figures ; 
 
 to the left a water-mill on the banks of a river ; to the 
 right a man on horseback, accompanied by one on foot, 
 going towards a church. Dated 1554. Pen and bistre. 
 
 H. 13 in. W. I7§ in. 
 
 Ex Collection H. Hamel. 
 
 * PAUL BRILL. 
 Nat. 1554. Ob. 1626. 
 
 398. The Month of August. In the centre of the upper part of 
 
 the drawing is represented the sign of Virgo. An old 
 
FLEMISH SCHOOL. 
 
 85 
 
 castellated building forms the principal object in the view, 
 surrounded with outhouses for the manufacture of wine. 
 Coopers are at worjs casking. In the foreground, mules 
 laden with grapes in barrels or dossors are conveying them 
 to the pressing-houses; and in the middle distance a cart, 
 attended by two men, is departing for a fresh supply. 
 Various other buildings are in the background, and on 
 hills in the distance is seen the vineyard. Pen and bistre 
 wash. The drawing has been engraved. 
 
 *PAUL BRILL. 
 
 399. A Landscape with a Bridge. Pen and sepia wash, slightly 
 
 tinted and touched with body colour. 
 
 H. 6 in. W. Si in. 
 
 Ex Collection Robert Udney. 
 
 * DENIS CALVERT. 
 Nat. 1555. Ob. 1619. 
 
 400. Study of an Angel. Red chalk, heightened with white. 
 
 H. iof in. W. 7! in. 
 
 Ex Collections Earl of Arundel and Sir Peter Lely. 
 
 JAN BREUGHEL (called Velvet Breughel). 
 
 Nat. 1560. Ob. 1689. 
 
 401. A Landscape with a windmill; in front are several horses, 
 
 carts, and figures differently occupied. Pen and bistre, 
 washed with a little colour. 
 
 H. 7£ in. W. 9| in. 
 
 JAN BREUGHEL (called Velvet Breughel). 
 
 402. A Landscape, with river running through the centre; on 
 
 each side are houses. Pen and sepia, washed with indigo. 
 H. 7f in. W.I if in. 
 
86 
 
 FLEMISH SCHOOL. 
 
 JAN BREUGHEL (called Velvet Breughel). 
 
 403. A Man walking by the side of a hay-cart, descending a hill, 
 preceded by three peasants, and followed by others 
 in the distance; in the foreground are a man and dog. 
 Pen and bistre, washed. 
 
 H. 5i in. W. 6f in. 
 
 JAN BREUGHEL (called Velvet Breughel). 
 
 404. A Landscape, with a river running through the centre. In 
 
 the foreground are two laden waggons, with horses and 
 figures, and a group of trees. Pen and sepia, washed with 
 indigo. 
 
 H. 7f in. W.I if in. 
 
 * JAN BREUGHEL (called Velvet Breughel). 
 
 405. View on the Sands near Schevening. Dealers waiting with 
 
 their carts the arrival of the herring-fishery boats. In the 
 centre group of figures the artist has introduced some of 
 the principal people of the vicinity, and among them a 
 man and woman, to whom two females with a child are 
 directing their attention. Pen and bistre. 
 
 H. 5f in. W. 13 in. 
 
 * JAN BREUGHEL (called Velvet Breughel). 
 
 406. The Watering-place. In a pond beside a farmstead and 
 the highroad, several groups of travellers, on horseback 
 and in waggons, with sheep and cattle, approach the 
 watering-place, into which some have already gone. Two 
 mounted cavaliers are in conversation in the centre of the 
 road, from whom a boy, cap in hand, is begging. Pen and 
 bistre wash, with the distance tinted with indigo. 
 H. S\ in. W. I2§ in. 
 
FLEMISH SCHOOL. 
 
 87 
 
 PETER NEEFS. 
 Nat. 1570. Ob. 1651. 
 
 407. Interior of a Church. Red chalk, with the Figures in Indian 
 
 ink. 
 
 H. 9^ in. W. in. 
 The figures in Indian ink are by Van Tulden. 
 
 * ROLAND SAVORY. 
 Nat. 1576. Ob. 1639. 
 
 408. A Classical Landscape. Indigo and bistre wash. 
 
 H. 5f in. W. 8± in. 
 
 PETER PAUL RUBENS. 
 
 Nat. 1577. Ob 1640. 
 
 409. A Portrait of the Artist's first wife, Mademoiselle Brandt. 
 
 Black and red chalk, heightened with white. Framed. 
 H. 7f in. W. 5 in. 
 
 PETER PAUL RUBENS. 
 
 410. A Study for the figure of Moses striking the Rock. Red 
 
 chalk, heightened with white. 
 
 H. 13! in. W. 7* in. 
 
 Ex Collection Jonathan Richardson. 
 
 PETER PAUL RUBENS. 
 
 41 1- A Portrait of the Artist's son, Francois. Black and red 
 chalk, heightened with white, on grey paper. 
 
 H. \o\ in. W. 9 in. 
 
 PETER PAUL RUBENS. 
 
 412. A Study of a Man's Head, with a Beard. Black chalk, 
 heightened with white. 
 
 H. 15A in. W. 8£ in. 
 
ss 
 
 FLEMISH SCHOOL. 
 
 PETER PAUL RUBENS. 
 
 413. Adam and Eve, after RafTaelle, the figures which Rubens 
 
 painted for Breughel in a picture by that artist, representing 
 Paradise. Black chalk, heightened with white. 
 H.i if in. W. 8fin. 
 Ex Collection P. H Lankrinck. 
 
 * PETER PAUL RUBENS. 
 
 414. A Lion resting on the Ground. Black and white chalk on 
 
 brown paper. 
 
 H. 10 in. W. i6£ in. 
 
 * PETER PAUL RUBENS. 
 
 415. Head of a Negro. Black and 1'ed chalk. 
 
 H. I2f in. W. 7| in. 
 
 * PETER PAUL RUBENS. 
 
 416. Study for the Head of Mary de Medicis, for the picture in 
 
 the Louvre of the Accouchement. Black chalk, heightened 
 with white, on blue paper. 
 
 H. 1 of in. W. 8| in. 
 
 DAVID VINCKENBOOMS (called Vinkoboom). 
 
 Nat. 1578. Ob. 
 
 417. A Landscape. In the foreground water; on the left a 
 
 cottage. Indian ink, washed. 
 
 H. 5£in. W. 10 in. 
 
 Ex Collection William Esdatle. 
 
 FRANCIS SNYDERS. 
 Nat. 1579. Ob. 1657. 
 
 418. A Study of a Wolfs Head. Black and red chalk, heightened 
 
 with white. 
 
 H. \o\ in. W. 17^ in. 
 
 Ex Collection Jonathan Richardson and Lord Spencer, 
 
FLEMISH SCHOOL. 
 
 89 
 
 FRANCIS SNYDERS. 
 
 419. A Study of a Hound at full speed. Red chalk. 
 
 H. 81 in. W. i6£ in. 
 
 FRANCIS SNYDERS. 
 
 420. Still Life, consisting of a Hare, Birds, and Vegetables, beside 
 
 which is a vase with grapes. Pen, washed with bistre. 
 
 H. 6 in. W. 5f in. 
 
 Ex Collection Baron Van Gole. 
 
 FRANCIS SNYDERS. 
 
 421. A basket-full of Fruit standing on a pedestal, in front of 
 
 which is a garden-pot with a flower in it, and a cut melon. 
 Pen and bistre, washed with Indian ink. 
 
 H. 7f in. W. 9^ in. 
 
 Ex Collection Ploos van Amstel. 
 
 FRANCIS SNYDERS. 
 
 422. Dead Game, with a basket of grapes and other objects lying 
 
 on a table. Pen and bistre. 
 
 H. 7% in. W. 10 in. 
 
 * FRANCIS SNYDERS. 
 
 423. Still Life \ birds, with grapes on a salver, and a lobster in a 
 
 basket. Pen and bistre, washed. 
 
 H. 8 in. W. Hi in. 
 
 Ex Collection Thomas Dimsdale. 
 
 * FRANCIS SNYDERS. 
 424. Still Life \ Dead Game and Fruit. Red chalk. 
 
 H. 5$ in. W. 7 in. 
 
9o 
 
 FLEMISH SCHOOL. 
 
 W. VAN NIEULANDT. 
 Nat. 1584. Ob. 1635. 
 
 425. A Mountainous Landscape. In the foreground is a group of 
 
 fir-trees growing on the point of a rock. In colours. 
 H. \\\ in. W. 14^ in. 
 Ex Collection . Unknown mark. 
 
 FRANCIS HALS. 
 Nat. 1584. Ob. 1666. 
 
 426. View of the Interior of a Picture Gallery, in the centre of 
 
 which the proprietor appears to be uncovering a group of 
 bronze figures lying on a table, in order to show them to 
 some amateurs who are standing by ; to the right are two 
 gentlemen examining some of the pictures, and to the left 
 is a picture placed in a chair. Pen and bistre. 
 H. 13! in. W. 1 7| in. 
 Ex Collection William Beckford, of Font hill. 
 
 FRANCIS HALS. 
 
 427. A Drunken Man seated in a chair, raising the flap of his hat 
 
 with his left hand, probably with the idea of enabling him 
 to see more clearly, as he appears stupified with liquor. 
 
 Pen and bistre, heightened with oil-colour. 
 
 H.i if in. W. 6| in. 
 
 JACOB JORDAENS. 
 Nat. 1594. Ob. 1678. 
 
 428. A Study for the Figure of a Triton in the Picture of ' Neptune 
 
 and Amphitrite/ in the Collection of the King of Holland. 
 Red and black chalk, heightened with white. 
 
 H. 14! in. W. 9f in. 
 
 JACOB JORDAENS. 
 
 429. A Study of a Boy's Head. Black chalk. 
 
 H. \o\ in. W. ql in. 
 
FLEMISH SCHOOL. 
 
 JACOB JORDAENS. 
 
 Nat. 1594. Ob. 1678. 
 
 430. A Young Woman looking out of window, holding a goblet 
 and flagon, behind her an old woman. Coloured chalks. 
 
 H. 11 in. W. 8fin. 
 
 ANTHONY VANDYCK. 
 
 Nat. 1599. Ob. 1 641. 
 
 431. A Study for the Head of a Priest at the Altar, in the 
 picture of 1 St. Bonaventura receiving the Communion,' in 
 a church at Mechlin. Black chalk, heightened with white 
 on grey paper. 
 
 H. ii\ in. W. 7| in. 
 
 Ex Collection Sir Joshua Reynolds. 
 
 ANTHONY VANDYCK. 
 
 432. A Sketch of King Charles I. in a sitting posture, full dress. 
 On the reverse is the study of a head. Black chalk, 
 heightened with white o?i grey paper. 
 
 H. 19 in. W. 111 in. 
 
 ANTHONY VANDYCK. 
 
 433. A Spaniel Dog of King Charles's Breed. Black chalk, 
 heightened with white. 
 
 H. 9| in. W. 7J in. 
 
 Ex Collection Sir Joshua Reynolds. 
 
 * ANTHONY VANDYCK. 
 
 434. The Holy Family attended by an Angel in the distance; 
 two studies of Joseph. Red chalk. 
 
 H. 71 in. W. 6| in. 
 
9 2 
 
 FLEMISH SCHOOL. 
 
 ANTHONY VANDYCK. 
 
 435. A Sketch of a Man's Head, looking upwards. Black chalk, 
 
 heightened with white. 
 
 H. 135 in. W. 8g in. 
 
 ANTHONY VANDYCK. 
 
 436. A Study for the Head of St. Nicolas. Red chalk. 
 
 H.i if in. W. 8fin. 
 
 ANTHONY VANDYCK. 
 
 437. A Portrait of Jacob de Mompert, the Artist. Pen and bistre. 
 
 H. 9 in. W. 6 in. 
 
 * ANTHONY VANDYCK. 
 
 438. Portrait of Charles I. Black chalk on blue paper. 
 
 H. 14^ in. W. iof in. 
 
 * ANTHONY VANDYCK. 
 
 439. A Study for a full-length Equestrian Portrait. Black chalk, 
 
 heightened with white, on blue paper. 
 
 H. io£ in. W. 7| in. 
 Ex Collection Richardson and that of W. S. 
 
 * ANTHONY VANDYCK. 
 
 440. Portrait of John Breughel. On the margin is written, Johannes 
 
 Breughel, Pictor Antneie- 27. Pen and ink. 
 
 H. 9£ in. W. 6| in. 
 Including margin beyond the boundary line of the drawing. 
 
 * ANTHONY VANDYCK. 
 
 441. A Study of Trees. Pen and ink, slightly coloured. 
 
 H. 11. in. W. 14 in. 
 
 Ex Collection Sir Joshua Reynolds. 
 
FLEMISH SCHOOL. 
 
 93 
 
 DAVID TENIERS, Jun. 
 Nat. 1610. Ob. 1694. 
 
 442. A Barber in the act of Shaving a Man. Black chalk. 
 
 H. 6£ in. W. 4f in. 
 
 DAVID TENIERS, Jun. 
 
 443. A Study of two Figures, after a picture by Giorgione, on the 
 
 reverse part of a sketch. Black chalk, 
 H. 6f in. W. 5f in. 
 
 DAVID TENIERS, Jun. 
 
 444. A Street View of a Village in Holland. In the foreground 
 
 is a man followed by a dog. Signed with the monogram 
 of the artist. Black chalk. 
 
 H. 7| in. W. iof in. 
 
 Ex Collection Lempereur and William Esdaile. 
 
 * DAVID TENIERS, Jun. 
 
 445. Two Peasants on separate sheets of paper ; at the back of 
 
 the bottom sketch are other studies of heads, hands, &c. 
 Black chalk. 
 
 H. si in. W. 3I in. 
 H. 6£ in. W. Si in. 
 
 * DAVID TENIERS, Jun. 
 
 446. A Landscape with Trees. Black chalk. 
 
 H. s\ in. W. 7f in. 
 
 * DAVID TENIERS, Jun. 
 
 447. Head of a Man, with a large hat, seen in profile. Black 
 
 chalk. 
 
 H. 7f in. W. 5f in. 
 On the upper corner of the drawing the artist has placed his initals D. T. ft. 
 
94 
 
 FLEMISH SCHOOL. 
 
 * DAVID TENIERS, Jun. 
 
 448. Two Peasants ; on the reverse a sketch of Cottages. Black 
 
 chalk. 
 
 H. 71 in. W. 7i in. 
 
 MINDERHOUT HOBBIMA. 
 Nat. circa 161 1 at Antwerp. 
 
 449. A Woody Scene at the Entrance of a Forest, evidently 
 
 sketched from Nature. Black chalk, slightly tinted with 
 Indian ink. 
 
 H. 5f in. W. 7f in. 
 
 * JAN VAN KESSEL. 
 Nat. 1626. Ob. 
 
 450. The Chateau de Wouze, near Maestricht. Dated 1672. 
 
 Indian ink wash. 
 
 H. si in. W. 8 in. 
 
 ANTHONY FRANCIS VANDERMEULEN. 
 Nat. 1634. Ob. 1690. 
 
 451. A Portrait of Louis XIV. on horseback. Brown chalk. 
 
 H. 28* in. W. 17^ in. 
 
 * ANTHONY FRANCIS VANDERMEULIN. 
 
 452. A Study for part of the Picture representing Louis XIV. on 
 
 the Pont Naif, Paris. Louis, having alighted from his 
 carriage, is in the act of handing a roll of paper to his 
 Page; another of the King's attendants speaks to the 
 Coachman seated on the box of his carriage and holding 
 the reins of a pair of horses. The King is in full-dress 
 costume. /;/ brown chalk. 
 
 H. 13 in. W. i6| in. 
 
FLEMISH SCHOOL. 
 
 95 
 
 CORNELIUS HUYSMAN (de Malines). 
 Nat. 1648. Ob. 1727. 
 
 453. A Landscape. In the foreground, a group of three figures 
 
 and a dog, behind which is a cart loaded with hay, drawn 
 by two horses, on one of which the driver is seated ; two 
 men at the side are endeavouring to prevent it falling 
 over j to the left is a cow and a peasant leaning against a 
 tree ; in the rear a farm-house ; with rainbow effect. Pen 
 and bistre, washed with Indian ink. 
 
 H. 7| in. W. 9I in. 
 
 VAN FALENS. 
 Nat. . Ob. 
 
 454. A Halt of Cavaliers regaling in front of a Booth; two men 
 
 are lying on the ground before it. Pen and Indian ink. 
 H. 7* in. W. 8£ in. 
 
96 
 
 GERMAN SCHOOL. 
 
 ©erman @)cf)00l 
 
 455. * Ruin : an emblematical subject. Pen and ink washed. 
 
 H. l\\ in. W. 14^ in. 
 
 * Coats of Arms for a work on Heraldry. 
 
 456. A Shield with lions rampant, quartered ; crest, two stags' 
 
 heads. 
 
 H. 11^ in. W. 8£ in. 
 
 457. *The arms of Count Hag, son of Sigismond III. A Shield 
 
 with a white horse rampant ; crest, a female in bodice of 
 fleur-de-lis holding a wheatsheaf. Motto, ' Cvm Lahore Et 
 Deo Ivvante.' 
 
 H. 12 in. W. 9J in. 
 
 458. *The arms of the Halwygt family. A Shield with two wings 
 
 erect ; crest, a winged female. 
 
 H. 16 in. W. n£ in. 
 
 459. *A Shield, blank; supporter, a female holding a flower; 
 
 upon a scroll across her breast the letters ' M. A. E. I.' 
 Pen a?td ink. 
 
 H. 16^ in. W. ui in. 
 
 MARTIN SCHOENGAUR. 
 Nat. 1420. Ob. i486. 
 
 460. The Madonna and Child. Pen and Pidian ink, heightened 
 
 with white on a red ground. 
 
 H. 7| in. W. 6 in. 
 
 * MARTIN SCHOENGAUR. 
 
 461. John baptizing Jesus. At the bottom of the drawing the 
 
 artist has introduced his monogram. Pen and ink. 
 H. 6} in. W. 6 in. 
 
GERMAN SCHOOL. 
 
 97 
 
 * MARTIN SCHOENGAUR. 
 
 462. A Lady seen in profile. She has clogs on her feet, and on 
 
 the ground behind her is a wreath. Pen and ink. 
 H. 4! in. W. 3 in. 
 
 Ex Collection Paul Sandby. 
 
 * ISRAEL VAN MECHELAN. 
 
 Circa 1424. 
 
 463. The Artist's Portrait. The original from which the portrait 
 
 is engraved. Pen and ink. 
 
 H. 4| in. W. 2f in. 
 
 *M. WOLGEMUT. 
 Nat. 1434. Ob. 15 19. 
 
 464. The Virgin in the Crescent. Indian ink. Pen and ink 
 
 wash. 
 
 H. 10 in. W. 4I in. 
 
 Ex Collection Count Lagoy, J. Dupont, and others unknown. 
 
 *M. WOLGEMUT. 
 
 465. The Four Evangelists. Pen and ink. 
 
 H. 7| in. W. 11 in. 
 
 BARTHOLOMAIUS ZEITBLOOM. 
 Nat. 1468. Ob. 15 14. 
 
 466. Three draped Male Figures seated, holding converse. In- 
 
 dian ink, heightened with white on a grey ground. 
 H. 7J in. W.I if in. 
 
 JAN DE MABUSE OR MABEUGE. 
 Nat. 1470. Ob. 1562. 
 
 467. A Study of Gothic Architecture. Fine pen and bistre. 
 
 H. 13 in. W. 1 if in. 
 
 H 
 
GERMAN SCHOOL. 
 
 ALBERT DURER. 
 
 Nat. 1471. Ob. 1528. 
 
 468. An Old Man in a long robe, holding a book. A full-length 
 Figure. Signed with the monogram of the artist, and 
 dated 15 14. Pen and Indian ink. 
 
 H. \i\ in. W. 7| in. 
 
 ALBERT DURER. 
 
 469. A Standard Bearer, two smaller figures standing one on each 
 side of him. Signed with the monogram of the artist. 
 Pen and sepia. 
 
 Octagon top. H. 7 in. W. 4^ in. 
 
 ALBERT DURER. 
 
 470. The Madonna, with Infant Saviour in her lap. The Child 
 is flying a bird attached to a string ; above the head of the 
 Virgin an angel holds a crown ; in the background are 
 some boats on the border of a lake. Signed with the 
 monogram of the artist, and dated 15 15. Pen and bistre. 
 
 H. 11 in. W.8£in. 
 
 * ALBERT DURER. 
 
 47 t. Christ before Pilate. 
 
 Circular ; 9 in. diameter. 
 
 Ex Collections Paid Sandby and William Yoimg Otley. 
 
 * ALBERT DURER. 
 
 472. The Taking Down from the Cross. Pen and i?ik. 
 
 Circular ; 9 in. diameter. 
 Ex Collections Paul Sandby and William Young Otley. 
 
GERMAN SCHOOL. 
 
 99 
 
 HANS BURGMAIR. 
 Nat. 1472. Ob. 1559. 
 
 473. Part of the Triumphal Car of the Emperor Maximilian, with 
 
 allegorical figures. Dated 1557. Pen and Indian ink. 
 H. i8| in. W. 12J in. 
 Ex Collection M. Desperet. 
 
 HANS BEHAM GRUNN. 
 
 Nat. 1482. Ob. 1552. 
 
 474. A full-length Figure of a Bishop holding a crosier and a 
 
 chalice. Signed with the monogram of the artist, and 
 dated 1520. Indian ink, heightened with white on a dark 
 ground. 
 
 H. \\\ in. W. 5f in. 
 
 Ex Collection Thomas Dimsdale. 
 
 HANS BEHAM GRUNN. 
 
 475. Armorial Bearings of 'Andreas Sturzel van Burheim, Provost 
 
 of the Cathedral of the Monastery of Basle, and Provost of 
 Waldlkirch.' Pen and India?i ink, heightened with red. 
 H. 13! in. W. I2| in. 
 
 MARTIN ZAGEL. 
 
 Flourished circa 1520. 
 
 476. The Decollation of a Saint. Dated 1520. A circular draw- 
 
 ing. Indian ink, heightened with white on a dark ground. 
 Diameter 6 in. 
 Ex Collection Thomas Dimsdale. 
 
 * HANS JOHN SCHAEUFLEIN (the Younger). 
 
 Nat. 1487. Ob. 1551. 
 
 477. Christ praying in the Garden. Peter, James, and John, 
 
 asleep on the foreground. Pen and Indian ink wash, 
 upon coloured paper. 
 
 Circular, 9 in. diameter. 
 
IOO 
 
 GERMAN SCHOOL. 
 
 * HANS JOHN SCHAEUFLEIN (the Younger). 
 
 478. Peter denying Christ. Pen and bistre wash. 
 
 Diameter, 9 in. 
 
 ALBRECHT ALTORFER. 
 
 Nat. 1488. Ob. 
 
 479. A Reposo of the Holy Family, attended by angels. Pen and 
 
 bistre, heightened with white on a dark ground. 
 H. 8f in. W. 6f in. 
 Ex Collection Thomas Dimsdalc. 
 
 ALBRECHT ALTORFER. 
 
 480. The Brazen Serpent in the Wilderness. Moses and Aaron 
 surrounded by a multitude of figures. Dated 15 12. Pen 
 and Indian ink. 
 
 H. 9I in. W. 8f in. 
 
 HANS HOLBEIN. 
 
 Nat. 1498. Ob. 1554. 
 
 481. The Apostles, Paul and Silas, led to Prison. Pen and bistre, 
 washed with Indian ink. 
 
 H. \\\ in. W. 71 in. 
 
 ALBRECHT ALDEGRAEVER. 
 Nat. 1502. Ob. 
 
 482. The Incredulity of St. Thomas. Signed with the monogram 
 of the artist. Pen and bistre, heightened with white on pre- 
 pared gr 01 md. 
 
 II. 15 in. W. iof in. 
 
GERMAN SCHOOL. 
 
 * DAVID HOPFER. 
 Nat. 1 510. Ob. 
 
 483. A Man nearly in profile. He is standing dressed in a hat, 
 
 boots, and coat, with a cape and hood. Pen and Indian 
 ink on blue paper, heightened with white. 
 
 H. 8f in. W. 3fin. 
 Ex Collection Baron Denon. 
 
 * JEROME HOPFER. 
 
 Flourished about 1 535. 
 
 484. St. John in the Isle of Patmos. Pen and ink on blue paper, 
 
 heightened with white. 
 
 H. 8| in. W. 7£ in. 
 
 JEROME HOPFER. 
 
 485. A Reposo of the Holy Family, to whom Angels are bringing 
 
 fruit. Signed with the monogram of the artist, and dated 
 15 2 1. Pe7i and Indian ink, heightened with white o?i a 
 dark ground. 
 
 H. 11 in. W. 8 in- 
 
 TOBIAS STIMMER. 
 Nat. 1534. Ob. 15 — 
 
 486. The Prophet Elijah confounding the Priests of Baal. Sur- 
 
 rounded by a border with initials of the artist, dated 1589. 
 Pen and Indian ink. 
 
 1 
 
 H. i6f in. W. \2\ in. 
 
 DANIEL LINDTMEYER. 
 Nat. 1540. Ob. 
 
 487. An Allegorical Design, representing the Arms of the Canton 
 
 of Berne; in the upper part is represented the story of 
 Elisha and the Bears. Signed with a monogram of the 
 artist, and dated 1574. Pen and bistre. 
 
 H. 16J in. W. 15J in. 
 
102 
 
 GERMAN SCHOOL. 
 
 * CHRISTOPHER SCHWARTZ. 
 Nat. 1550. Ob. 1594. 
 
 488. Battle of the Angels. In the centre is the Archangel Michael 
 
 casting down Satan, and on each side of their chief are the 
 falling angels descending with him. On the upper part of 
 the drawing, which is arched at top, is God the Father and 
 the heavenly host. Pen and bistre, with bistre and Indian- 
 ink wash. 
 
 H. 12$ in. W.8in. 
 
 CHRISTOPHER MAURER. 
 
 Nat. 1558. Ob. 1614. 
 
 489. Taking Down from the Cross. Beneath are two figures on 
 
 their knees in the attitude of prayer, in front of which are 
 two armorial bearings. Signed with the monogram of the 
 artist, C. M., and dated 1599. Pen, washed with Indian 
 ink. 
 
 H. 1 sf in. W. n| in. 
 
 * CHRISTOPHER MAURER. 
 
 490. The Descent from the Cross. The cross stands in the centre 
 
 of the subject, with a ladder raised against it, upon which 
 stands a man supporting the dead body of Jesus, while 
 it is being lowered by means of a piece of cloth fastened 
 round the body of our Lord, and over an arm of the cross 
 by a man from behind : two men are engaged in extracting 
 the nails by which the Saviour's feet were fastened. Mary 
 is on the left of the group, in an agony of grief, supported 
 by John, and behind them are the other Maries. A male 
 and female saint stand on each side of the drawing, holding 
 models of the Christian Church ; and on the right of the 
 female is a bearded monk with a book. In the distance a 
 path leads to the city, along which two of the disciples are 
 approaching ; and in the upper part of the drawing are two 
 angels with the emblems of the crucifixion. Pen and 
 Indian-ink wash. 
 
 Octagon. H. 15! in. W. 22| in. 
 Ex Collection ' 
 
GERMAN SCHOOL. 
 
 103 
 
 JOHN ROTHENHAEMER. 
 
 Nat. 1564. Ob. 1604. 
 
 491. Lot and his Daughters. Pen and bistre, washed with Indian 
 ink. 
 
 H. 8J in. W. \\\ in. 
 
 Ex Collection Edward Perks. 
 
 * MATTHEW KRUGER. 
 Nat. 1566. Ob. 1634. 
 492. St. John. Pen and Indian ink wash. 
 
 H. 11 in. W. 6fin. 
 
 * ABRAHAM BLOEMART. 
 
 Nat. 1567. Ob. 1647. 
 
 493. The Annunciation. The Virgin seated at a desk, with a 
 large book before her, is listening to the address of the 
 angel Gabriel descending in a cloud, with the Holy Spirit 
 surrounded by cherubim. On the step upon which the 
 Virgin is elevated, the artist has written his name 
 ' A. Bloemart.' Pen and bistre wash, heightened with white. 
 
 H. 13 in. W. iof in. 
 
 ADAM ELSHEIMER. 
 
 Nat. 1574. Ob. 1620. 
 
 494. A Landscape. In the foreground, on the banks of a river, 
 are a man and three animals ; to the right a boat and 
 figures, behind which is a group of trees ; to the left, in 
 front of a clump of trees, are three cottages ; and in the 
 middle distance are some undulating hills. Pen, washed 
 with Indian ink. 
 
 H. \\ in. W. 7£ in. 
 
104 
 
 GERMAN SCHOOL. 
 
 ADAM ELSHEIMER. 
 
 495. Abraham entertaining the angels. The angels are seated at 
 
 a table beneath the shade of some trees, in front of a cottage; 
 in the rear Sarah is looking through a door half open, in 
 the act of listening. Indian ink, heightened with white. 
 H. 3$ in. W. 5 in. 
 Ex Collection Marquis de Lagoy. 
 
 * MARIA SYBILLA MERIAN. 
 
 Nat. 1647. Ob. 1717. 
 
 496. Butterflies. Four examples, upon two sheets, probably the 
 
 male and female of each species. In colour. 
 Each H. 4J in. W. 6\ in. 
 
 * MARIA SYBILLA MERIAN. 
 
 497 Natural History. Four drawings, of a winged beetle, a spider, 
 and two grasshoppers. In colours. 
 H. zl in- W. 2f in. H. in. W. 3J in. H. 3^ in. W. $1 in - 
 
 * CHRISTOPHER ELIAS HEISS. 
 Nat. 1670. Ob. 
 
 498. Design for an Altar-piece. The subject is probably a design 
 for a church dedicated to the Virgin. In the centre, upon 
 a pedestal in a circular niche, stands an angel, holding two 
 shields ; that by the right hand contains a representation 
 of the Virgin and Infant, standing within a crescent, and 
 on the left a cross, each within a border. At her feet is a 
 third shield, and above the parti par bend is a fish, 
 and under the bend a rose. Before the pedestal upon 
 which this group is placed is a tablet, surmounted with a 
 cherub in the centre and at the base by a Roman head. 
 On the side of the principal figures, and in niches, stand a 
 saint, holding a death's head and a crucifix, and on the 
 other a mitred bishop, with his crozier : above these niches, 
 
GERMAN SCHOOL. 
 
 over the bishop, is a circular escutcheon containing a skull 
 with a sword passed through it, and on that opposite a 
 helmet with a sceptre. At the feet of these figures are two 
 emblematic females, one holding a balance and the other a 
 vase inverted, from which water is rushing out. Above 
 the centre group is a shield containing several ecclesiastics, 
 assembled at the death of the Virgin. The shields and 
 scrolls are full of Gothic ornaments. 
 
 H. 1 7| in. W. I 3 i 
 
 *ROCHO VAN VEEN. 
 
 499. A Study of three Dragon Flies. Dated 1681. Colours. 
 
 H. io\ in. W. 6i in. , 
 
 *PAUL FERG. 
 
 Nat. 1689. Ob. 1738 at Vienna. 
 
 500. A Landscape. A road passes through the view from left to 
 
 right, along which is a cavalier riding ; a tired peasant 
 seated by the road-side. Two travellers are walking, and 
 in the middle distance are shepherds with their sheep. 
 In the distance a mountain rises over detached cottages on 
 a flat country In body colour. 
 
 H. 6| in. W. 8i in. 
 
 * PAXIL FERG. 
 
 501. Going to Market. The companion drawing. Body colours. - 
 
 H. 6| in. W. 8£ in. 
 
 JOHN ELIAS RIDINGER. 
 Nat. 1695. Ob. 1769. 
 
 502. A Group of Stags in a park. Washed with Indian ink. 
 
 H. 8i in. W. 13^ in. 
 
io6 GERMAN SCHOOL. 
 
 *JOHN ELIAS RIDINGER. 
 
 503. The Wolf Hunt. A party of hunters assembled, with hounds 
 
 in the foreground, and in the distance another party are in 
 full cry after a wolf; on the top of the drawing is a scroll, 
 on which are the words ' Chasse du Loup? Pen and 
 sepia, and Indian-ink wash. 
 
 Octagon. H. 11 J in. W. 8£ in. 
 
 *JOHN ELIAS RIDINGER. 
 
 504. A Boar Hunt. Pen and bistre, washed with Indian ink. 
 
 H. 11J in. W. 8i in. 
 
 * C. DIETRICHI. 
 Nat. 1 712. Ob. 
 
 505. Portrait of a Man with a moustache. He has a turban on 
 
 his head fastened with a jewel, and surmounted with a 
 flying dragon. Pen and sepia. 
 
 H. 5f in. W. 4f in. 
 
 •C DIETRICHI. 
 
 506. The Roman citizens demanding bread of Coriolanus. Pen 
 
 and bistre wash. 
 
 H. 9f in. W. 71 in. 
 
 *C. DIETRICHI. 
 
 507. Diogenes preaching the Doctrine of Antisthenes to the 
 
 Athenians. On the right of the drawing the artist has 
 signed his name, ' Dietrus? Pen and bistre wash. 
 H. log in. W. 15$ in. 
 
 * H. TISCHBEIN. 
 
 Nat. 1722. Ob. 
 
 508. Portrait of R. C. Nilson. Dated 1784. Red chalk. 
 
 H. 6i in. W. 3I in. 
 
GERMAN SCHOOL. 
 
 107 
 
 ANTONIO RAPHAEL MENGS. 
 Nat. 1728. Ob. 1770. 
 509. Head of a Female. Black chalk, heightened with white, on 
 prepared paper. 
 
 H. 14 in. W. \o\ in. 
 
 * GILES VERHELST. 
 Nat. 1742. Ob. 
 510. Maurice of Nassau, Prince of Orange. Red chalk. 
 
 H. 7f in. W. 5| in. 
 
io8 SPANISH SCHOOL. 
 
 * JOSEF SPAGNOLETTO RIBERA. 
 
 Nat. 1593. Ob. 1656. 
 
 511. Venus asleep. A Satyr, while gazing on the sleeping figure, 
 
 is driven away by Cupid, encouraged to the act by 
 Hymen. Pe?i a?id bistre. 
 
 H. 7 in. W. io£ in. 
 
 * JOSEF SPAGNOLETTO RIBERA. 
 
 512. St. John in the Wilderness. Pen a?id bistre, slightly washed. 
 
 H. 5| in. W. 3f in. 
 
 DON DIEGO VELASQUEZ DA SILVA. 
 Nat. 1594. Ob. 1660. 
 
 513. A View outside the walls of a Convent at Seville. In front 
 
 of it a party of Hidalgos are amusing themselves by 
 shooting at a mark ; a grandee on horseback is approach- 
 ing them ; to the right a lady and gentleman are seated on 
 the ground beneath a large cork-tree conversing. Pen and 
 bistre. 
 
 H. \o\ in. W. 15J in. 
 
 JUAN GALVAN. 
 Flourished from 1598 to 1658. 
 
 514. A Pilgrim, carrying his staff and gourd. Bistre, washed 
 
 with Indian ink. 
 
 H. 8fin. W. 6fin. 
 
SPANISH SCHOOL. 
 
 109 
 
 BARTHOLOME ESTEBAN MURILLO. 
 Nat. 1613. Ob. 1685. 
 
 515. A Study of a Youth kneeling. Red chalk. 
 
 H. 10 in. W. 7| in. 
 
 BARTHOLOME ESTEBAN MURILLO. 
 
 516. A Study of a Beggar Boy holding up a box for alms. On 
 
 the reverse is another sketch. Black chalk, heightened with 
 white, on grey paper. 
 
 H. 14I in. W. 7f in. 
 
 Ex Collection . Unknown mark. 
 
 BARTHOLOME ESTEBAN MURILLO. 
 
 517. Christ appearing to Mary Magdalen in the Garden. Bistre, 
 
 heightened with while. 
 
 H. 6£ in. W. 5 in. 
 
 Ex Collection Baron Taylor. 
 
 BARTHOLOME ESTEBAN MURILLO. 
 
 518. The Assumption of the Virgin. A Study for the celebrated 
 
 picture in the Louvre, with this difference : in the picture 
 
 the eyes of the Virgin are looking upwards, in this they are 
 
 looking down. Signed by the artist, and dated 1664. 
 
 Pen and sepia, washed. 
 
 H. 1 if in. W. 7f in. 
 
 This drawing formerly belonged to Baron Taylor, who brought it from 
 Spain, and was purchased at Baron Taylor's sale. 
 
I IO 
 
 FRENCH SCHOOL. 
 
 jFrencf) ^cfjool. 
 
 JACQUES CALLOT. 
 Nat. 1593. Ob. 1635. 
 
 519. One of the Miseries of War. Signed. Pen and sepia, washed 
 
 with Indian ink. 
 
 H. 31 in. W. 7J in. 
 
 * JACQUES CALLOT. 
 
 520. Two Figures. One seated, playing a guitar; the other 
 
 standing with his hands behind him. Black and red chalk. 
 
 H. 3 in. W. 4I in. 
 
 * JACQUES CALLOT. 
 
 521. A Cavalier. Black chalk. 
 
 H. 3f in. W. 2 in. 
 
 NICOLAS POUSSIN. 
 Nat. 1594. Ob. 1665. 
 
 522. Bacchus and Ariadne, with other figures. Pen and bistre. 
 
 H. 51 in. W. 7 £ in. 
 
 Ex Collection Benjamin West, P.R.A. 
 
 * NICOLAS POUSSIN. 
 
 523. A Classical Landscape. On the left of the picture, under a 
 
 group of trees, is a fountain surmounted with a lion, from 
 whose mouth a stream of water flows, first into one basin 
 and then into a second. A female is bearing some of this 
 to a male figure reclining on the ground. Pen and bistre 
 wash. 
 
 H. 8| in. W. \2\ in. 
 
FRENCH SCHOOL. 
 
 in 
 
 JACQUES STELLA. 
 Nat. 1596. Ob. 1647. 
 
 524. A Reposo of the Holy Family attended by angels; land- 
 
 scape with hilly background. Signed by the artist. Pen 
 and Indian ink. 
 
 H. 11 in. W. 8±in. 
 
 CLAUDE GELEE (dit Claude Lorraine). 
 
 Nat. 1600. Ob. 1682. 
 
 525. A Landscape. On the right stands a castle on the banks of 
 
 a river; on the reverse is a study of a boat. Pen and 
 
 bistre, heightened with white, on a grey ground. 
 H. 5| in. W. 8 in. 
 
 CLAUDE GELEE (dit Claude Lorraine). 
 
 526. A Seaport at Sunset. In the foreground are three men and 
 
 a boy on the edge of the shore ; to the left of them are 
 three boats and figures, and to the right a temple on 
 a rock, behind which is a group of trees and a castle ; 
 on the opposite is some shipping. Black chalk, heightened 
 with white, on grey paper. 
 
 H. 7 in. W. iof in. 
 
 * CLAUDE GELEE (dit Claude Lorraine). 
 
 527. The Castle of St. Angelo. Men fishing in the river, and on 
 
 the foreground horsemen with cattle. Bistre wash, 
 heightened with white. 
 
 H. 8| in. W. 13! in. 
 
 CLAUDE GELEE (dit Claude Lorraine). 
 
 528. A Flock of Goats with two Goatherds. Pen and fo'stre, 
 
 washed with Indian ink. 
 
 H. 5f in. W. 8 in. 
 
 Ex Collection Benjamin West, P.R.A. 
 
112 
 
 FRENCH SCHOOL. 
 
 CLAUDE GELEE (dit Claude Lorraine). 
 
 529. A group of Trees on the outside of a forest. To the right 
 
 a man on horseback is seen entering the forest. Pen 
 
 ivashed with sepia. 
 
 H. K>f in. W. i6| in. 
 
 Ex Collection William Esdaile. 
 
 * CLAUDE GELEE (dit Claude Lorraine). 
 
 530. A Landscape. Pen and sepia wash o?i blue paper. 
 
 H. 4f in. W. 10 in. • 
 
 Ex Collection Count Fries, Sir Thomas Lawrance, and William Esdaile. 
 
 GASPAR DUGHET (dit Gaspar Poussin). 
 Nat. 1600. Ob. 1663. 
 
 531. A Landscape. Black chalk, heightened with white, on grey 
 
 paper. 
 
 H. ilg in. W. 17I in. 
 
 GASPAR DUGHET (dit Gaspar Poussin). 
 
 532. A Landscape. In the foreground a river, whereon is a man 
 
 in a boat ; a bridge crosses the river ; in the rear is a moun- 
 tain, and a castle standing at its base. Pen and bistre, 
 washed with Indian i?ik. 
 
 H. 7| in. W. 1 61 in. 
 
 GASPAR DUGHET (dit Gaspar Poussin). 
 
 533. A Mountainous Landscape, with a pool of water in the 
 
 foreground and figures. Black chalk, heightened with white, 
 o?i grey paper. 
 
 H. 16 J in. W. 2i| in. 
 
 Ex Collection Comte de Fries. 
 
FRENCH SCHOOL. 
 
 CASPAR DUGHET (dit Gaspar Poussin). 
 
 534. A Mountainous Landscape, with figures in the foreground ; 
 
 companion to the preceding, Black chalk, heightened 
 with white, on grey paper. 
 
 H. i6£ in. W. 22 in. 
 
 Ex Collection Comte de Fries. 
 
 GASPAR DUGHET (dit Gaspar Poussin). 
 
 535. A Hilly Landscape ; to the right a man driving a flock of 
 
 sheep. Pen and bistre, washed with Indian ink. 
 H. 71 in. W. 13^ in. 
 
 GASPAR DUGHET (dit Gaspar Poussin). 
 
 536. A Landscape, with figures in the foreground. Black chalk, 
 
 Jieightened with white, on grey paper. 
 
 H. \6\ n. W. 23 in. 
 
 Ex Collection Comte de Fries. 
 
 * GASPAR DUGHET (dit Gaspar Poussin). 
 
 537. A Classical Landscape. In the foreground, a road to the 
 
 right of the composition leads to a city on the banks of a 
 stream, flanked by hills. On the left, the road passes 
 under a rocky bank, where two figures are in conversation, 
 to the entrance of a wood. In the foreground a shepherd 
 is playing with a dog ; and on the opposite side, under 
 two trees, stands a tomb with an urn. Drawji with a 
 stump. 
 
 H. 11 in. W. 15J in. 
 
 * GASPAR DUCHET (dit Gaspar Poussin). 
 
 538. A Landscape composition. In the foreground, two men in 
 
 conversation are seated at the side of a road leading to 
 a river, on the banks of which are buildings ; under 
 a rocky background men are seated on the grass, in the 
 
ii 4 
 
 FRENCH SCHOOL. 
 
 middle distance. A boat with men is on the water, and 
 on the right is a group of trees, with part of a temple. 
 Pen and Indian-ink wash. 
 
 H. iof in. W. 17 in. 
 
 FRANCIS POILLY. 
 Nat. 1622. Ob. 1693. 
 
 539. A Design for a Marine Vase, one end of which represents 
 
 the figure of a Mermaid, with ornamental border and 
 landscape background, with sea in the distance. Pen, 
 washed with Indian ink and indigo. 
 
 H. 7f in. W. 10J in. 
 
 MICHEL CORNEILLE. 
 
 Nat. 1642. Ob. 1708. 
 
 540. A Bacchanalian Scene. Pen and bistre. 
 
 H. 8J in. W. II \ in. 
 
 Ex Collection Sir Thomas Lawrence. 
 
 BERNARD PICART. 
 Nat. 1663. Ob. 1738. 
 
 541. Six different Groups of Figures on the same sheet, variously 
 
 occupied. Pen, washed with Indian ink. 
 
 H. 71 in. W. 8| in. 
 
 GILLOT (Master of Ant. Watteau). 
 Nat. 1673. Ob. 1722. 
 
 542. A Fete Champetre. In the foreground a man playing a 
 
 violin, and a female dancing and beating a tambourine ; a 
 female reposes in the background. Fine pen a?id sepia. 
 H. 6-J in. W. 4# in. 
 
FRENCH SCHOOL. 
 
 "5 
 
 LE CHENU. 
 
 Flourished circa 1680. 
 
 543. An Ornamental Design, for the decoration of a ceiling and 
 
 frieze in the Palace of Versailles. Pen, and washed with 
 bistre. 
 
 H. 6£ in. W. 8£ in. 
 
 LE CHENU. 
 
 544. An Ornamental Design, for a ceiling and frieze, &c, in the 
 
 Palace of Versailles. Pen and bistre. 
 
 *LE CHENU. 
 
 545. A similar subject. In pefi and ink. 
 
 ANTOINE WATTEAU. 
 Nat. 1684. Ob. 1 72 1. 
 
 546. Portrait of a Man with Hat on. Red and black chalk. 
 
 H. 4f in. W. z\ in. 
 
 ANTOINE WATTEAU. 
 
 547. Study of a Man with a Cap. Lead pencil, and black and red 
 
 chalk. 
 
 H. 7J in. W. 6\ in. 
 
 ANTOINE WATTEAU. 
 
 548. A full-length Study of a Young Man, in costume de fete, hold- 
 
 ing across his shoulder a staff with vine-leaves, with landscape 
 background. Red chalk. 
 
 H. lof in. W. 7 in. 
 
 ANTOINE WATTEAU. 
 
 549. A Study of a Pedler, carrying a box under one arm and a 
 
 stick in his hand. Black and red chalk. 
 
 H. 12I in. W. 7 in. 
 
u6 
 
 FRENCH SCHOOL. 
 
 ANTOINE WATTEAU. 
 
 550. A Showman, with a bag slung at his side, and holding up a 
 
 peep-show. Red and black chalk. 
 
 H. 12 in. W. 8J in. 
 
 Ex Collection Jonathan Richardson and Count Caylus. 
 
 ANTOINE WATTEAU. 
 
 551. A Study of two Ladies in full costume, seated on the ground. 
 
 These figures form part of a group in one of his pictures 
 representing a fete champetre. hi red chalk. 
 
 H. 7 J in. W. 13! in. 
 
 ANTOINE WATTEAU. 
 
 552. Study for the Portrait of a Young Lady in a mantilla. Coloured 
 
 chalks. 
 
 H. 7f in. W. 4I in. 
 
 Ex Collection . Mark unknown. 
 
 * ANTOINE WATTEAU. 
 
 553. A Man playing on the guitar. Red chalk. 
 
 H. 4f in. W. 2\ in. 
 
 * ANTOINE WATTEAU. 
 
 554. A similar figure, reversed ; the companion drawing. 
 
 H. 4I in. W. 23 in. 
 
 * ANTOINE WATTEAU. 
 
 555. Study of a Lady seen from behind. Red chalk. 
 
 H. in. W. 61 in. 
 
 * ANTOINE WATTEAU. 
 
 556. Study of a Gentleman with a three-cornered hat. Red chalk. 
 
 H. 8| in. W. 5 in. 
 
FRENCH SCHOOL. 
 
 117 
 
 * ANTOINE WATTEAU. 
 
 557. Study of a Lady. Red chalk. 
 
 H. 9| in. W. 7 in. 
 
 * ANTOINE WATTEAU. 
 
 558. Study of a Pedler. Black and red chalk. 
 
 H. 151 in. W. 8f in. 
 
 * ANTOINE WATTEAU. 
 
 559. Study of a Lady. Red chalk. 
 
 H. 8| in. W. 6f in. 
 
 JEAN BAPTISTE OUDRY. 
 Nat. 1686. Ob. 1755. 
 
 560. A Study of a Dog's Head. ' Tete du Chien de Chasse du 
 
 feu Prince Charle. 1 See back. Black chalk, heightened 
 with white. 
 
 H. 8| in. W. io± in. 
 
 JEAN BAPTISTE OUDRY. 
 
 561. A Study of a Rhinoceros. Black chalk, heightened with white, 
 
 on grey paper. Signed by the artist. 
 
 H. 1 if in. W. 17J in. 
 
 * JEAN BAPTISTE OUDRY. 
 
 562. A Combat of Wild Asses. In the foreground is a group of 
 
 five asses, two of which are active in the fight, with an 
 equal chance of victory. One of the group is running away, 
 which another would also do, but that his right leg is held 
 in the mouth of an adversary. The principal group is con- 
 nected with two others of the tribe, apparently not so 
 equally matched, whilst another is lying on the ground 
 wounded, and in the last struggle for life. The conflict 
 takes place in a woody landscape, where in the distance are 
 others of the tribe running away at full speed. These 
 
n8 
 
 FRENCH SCHOOL. 
 
 are seen through an open gate of a somewhat broken 
 fence, but for which the fiery activity of the animals might 
 illustrate the wild asses of Tartary. Indian-ink wash, on 
 blue paper, heightened with white. 
 
 H.I if in. W. 2oJin. 
 
 *JEAN BAPTISTE OUDRY. 
 
 563. Cupid sporting with a Swan. White chalk with little colour, 
 on blue paper. 
 
 H. 11 in. W. \2\ in. 
 
 ♦FRANCIS LE MOINE. 
 Nat. 1688. Ob. 1737. 
 
 564. Apollo and Daphne. Black chalk, heightened with white, on 
 
 grey paper. 
 
 H. 9^ in. W. 14 in. 
 
 NICOLAS LANCRET. 
 
 Nat. 1690. Ob. 1743. 
 
 565. Study of the figure of a Man in a sitting posture, with hands 
 
 upraised^ Black chalk, heightened with white, 011 grey paper. 
 H. 9I in. W. 7f in. 
 
 * NICOLAS LANCRET. 
 
 566. Les Troqueurs. The two principal male figures in the 
 
 picture of Les Troqueurs engraved by De Larmessin. 
 Red chalk. 
 
 H. 8| in. W. \o\ in. 
 
 * NICOLAS LANCRET. 
 
 567. A Man seated at a table, with his right hand about to lift a 
 
 cup and saucer. Red chalk. 
 
 H. 6} in. W. 5f in. 
 
FRENCH SCHOOL. 
 
 119 
 
 * NICOLAS LANCRET. 
 
 568. A Lady and Gentleman. He is elevated above her, and is 
 
 humorously pointing towards her neck ; while she, with a 
 similar expression, holds back his arm. Black and red 
 chalk, 011 grey paper. 
 
 H. 9! in. W. 7i in. 
 
 * NICOLAS LANCRET. 
 
 569. Two Fishermen. One standing with a line in his hands, the 
 
 other on his knees holding a fish. Black chalk, heightened 
 with white, on warmish grey paper. 
 
 H. 9| in. W. 7f in. 
 
 * NICOLAS LANCRET. 
 
 570. Head of a Peasant Girl with a hat. Black chalk on blue 
 
 paper. 
 
 H. ii\ in. W. \o\ in. 
 
 NICOLAS LANCRET. 
 
 571. A Lady and Gentleman walking. Black chalk, heightenea 
 
 with white. 
 
 H. 12 in. W. 8 \ in. 
 
 *JOHN BAPTISTE PATER. 
 Nat. 1695. Ob. 1736, 
 
 572. Study of three Ladies. Red chalk. 
 
 H. 6£ in. W. 7% in. 
 
 *JOHN BAPTISTE PATER. 
 
 573. A Man reclining. Red chalk. 
 
 H. 5£ in. W. 7| in. 
 
 *JOHN BAPTISTE PATER. 
 
 574. A Conversation. A lady seated upon a chair, with a book 
 
 on her lap, is in conversation with a gentleman. Red chalk. 
 H. 6f in. W. 5i in. 
 
120 
 
 FRENCH SCHOOL. 
 
 CHARLES NATOIRE. 
 Nat. 1700. Ob. 1775. 
 
 575. A Sleeping Nymph. Coloured chalks. 
 
 H. 12* in. W. i8f in. 
 
 * CHARLES NATOIRE. 
 
 576. The Rape of Io. Red chalk. 
 
 Ex Collection T. Hudson and Sir J. Reynolds, 
 
 FRANCOIS BOUCHER. 
 
 Nat. 1704. Ob. 1768. 
 
 577. Rustic Courtship. A Shepherd and Shepherdess with a dog 
 
 by their side, seated under a tree, and watching a flock of 
 sheep. Black chalk. 
 
 H. gl in. W. 7i in. 
 
 1 
 
 FRANCOIS BOUCHER. 
 
 578. A Sea Nymph on a Dolphin. Black and red chalk, height- 
 
 ened with white. Signed by the artist. 
 
 H. \o\ in. W. 14I in. 
 
 FRANCOIS BOUCHER. 
 
 579. A Study of Two Females, surprised and alarmed at the 
 
 swoop of an eagle ; one of them holds a basket of flowers 
 on her arm. Black chalk, heightened with white. 
 H. I if in W. 13^ in. 
 
 * FRANCOIS BOUCHER. 
 
 580. Study of a reclining Figure holding a stick. Black and red 
 
 chalk, heightened with white. 
 
 H. 11 in. W. 15^ in. 
 
FRENCH SCHOOL. 
 
 121 
 
 J. B. GREUZE. 
 
 Nat. 1726. Ob. 1805. 
 
 581. A Sketch of a Girl's Head. Octagon. Red chalk. 
 
 H. I2f in. W. iof in. 
 
 J. B. GREUZE. 
 
 582. A Group of Figures, representing a female seated in a chair 
 
 and chiding a little boy ; in the background are two other 
 children. Indian ink. 
 
 H. I2f in. W. 0)\ in. 
 
 HONORE FRAGONARD. 
 Nat. 1733. Ob. 1806. 
 
 583. A full-length Study of a Lady in a satin dress. Red chalk. 
 
 H. 15 in. W. 9f in. 
 
 Ex Collection Thomas Ditnsdale. 
 
 * HONORE FRAGONARD. 
 
 584. Study of a Market Girl with a basket on her arm. Bistre. 
 
 H. 6| in. W. 4i in. 
 
 HUBERT ROBERT. 
 Nat. 1733. Ob. 1808. 
 
 585. A View of a Facade of a Palace, with a Female ascending 
 
 the steps, and three others at a fountain in front. Red 
 chalk. 
 
 H. iof in. W. 14! in. 
 
 HUBERT ROBERT. 
 
 586. Ruins of the Roman Temple at Paestum. Red chalk. 
 
 H. 132 in. W. i8f in 
 
122 
 
 FRENCH SCHOOL. 
 
 * BOUCHARDON. 
 
 587. Design for a Fountain. In the centre of a basin stand three 
 
 swans, with water flowing from their bills, surrounding a 
 globe, on the summit of which is Cupid with a bow and 
 arrow, in the act of shooting. Red chalk. 
 
 H. 95 in. W. \2\ in. 
 
 J. J. DE BOISSIEU. 
 
 Nat. 1736. Ob. 1810. 
 
 588. A Group of Male and Female Figures, with two mules laden, 
 
 and a dog. Pen and Indian ink. 
 
 H. Sl in- W. 8| in. 
 
 Ex Collection Thomas Dimsdale. 
 
 *J. J. DE BOISSIEU. 
 
 589. A Landscape, with a Crucifix. On the margin is written, 
 
 ' Dessinee par J. J. de Boissieu, 1765.' Bistre, slightly 
 tinted. 
 
 H. 8 in. W. 131 in. 
 
 •J. J. DE BOISSIEU. 
 
 590. A Ruined Bridge over a Stream. On the right corner of 
 
 the drawing the artist has written 1 D. B., 1776.' Indian- 
 ink wash. 
 
 H. 6£ in. W. 9i in. 
 
 *J. J. DE BOISSIEU. 
 
 591. The Bridge of Charenton, near Paris. Bistre wash. 
 
 H. 5£ in. W. 9| in. 
 
 Ex Collection Thomas Dimsdale. 
 
FRENCH SCHOOL. 
 
 123 
 
 J. J. DE BOISSIEU. 
 
 592. Sportsmen going out Hawking attended by Dogs; to the 
 
 left a man on horseback with a hawk on his wrist ; to the 
 right three huntsmen. Pen and distre. 
 
 H. 4 in. W. 8£ in. 
 
 Ex Collection Thomas Dimsdale. 
 
 J. J. DE BOISSIEU. 
 
 593. A Landscape. ' Vue dessinee du Chateau de Beanlieu en 
 Lionnais? Indian ink. 
 
 H. 3| in. W. 8£ in. 
 
 Ex Collection Thomas Dimsdale. 
 ' Le chateau appartient a Monsieur de Chapponet. ' 
 
 J. J. DE BOISSIEU. 
 
 594. A Landscape with a River ; a town in the distance. Indian 
 
 ink. 
 
 H. 5f in. W. 12 in. 
 
 Ex Collection Marquis de Lagoy and Thomas Dimsdale. 
 
 J. J. DE BOISSIEU. 
 595- A Sheet of Studies of ten Heads, from infancy to old age. 
 Signed with the artist's initials, and dated 1797. In pen 
 and Indian ink. 
 
 H. 8| in. W. 13J in. 
 
 FRANCOIS MARIUS GRANET. 
 Nat. 1774. Ob. 1849. 
 
 596. The Exterior and Interior of a House, with a group of 
 figures in front. Bistre wash. 
 
 H. 8 in, W. 12 in. 
 
124 
 
 DUTCH SCHOOL. 
 
 Dutcf) §>cf)00l. 
 
 LUCAS JACOBS (called Lucas van Leyden). 
 
 Nat. 1494. Ob. 1533. 
 
 597. The Crucifixion. Christ on the Cross, attended by three 
 
 angels, Mary and St. John at the foot. Signed with the 
 monogram of the artist. Pen and i?ik, heightened with 
 white, on a grey ground. 
 
 H. 11 in. W. f s in. 
 
 Ex Collection Thomas Dimsdale. 
 
 EGBERT HEMSKERCK. 
 Nat. 1498. Ob. 1574. 
 
 598. An Interior of a Temple. A composition containing nu- 
 
 merous studies for the life of Christ. Indian ink, heightened 
 with white. 
 
 H. 10 in. W. \2\ in. 
 
 HENRY GOLTZIUS. 
 Nat. 1558. Ob. 1617. 
 
 599. Memento Mori. The Portrait of a Young Man with hat 
 
 and feathers, and holding in one hand a tulip, and in the 
 other a skull. Under an hour-glass, close by, is written, 
 i Qi/is Evadet, Nemo. Signed ' H. G.,' 16 14. Pen and bistre. 
 H. 18 in. W. 14 in. 
 Ex Collection "John Macgowan. 
 
DUTCH SCHOOL. 
 
 125 
 
 HENRY GOLTZIUS. 
 
 600. The Holy Family reposing under a Tree. Introducing the 
 legend of the cherry-tree. Signed with the monogram of 
 the artist, £ H. G.' Red chalk, heightened with white. 
 
 H. 10 in. W. 8 in. 
 
 Ex Collection Van Gole. 
 
 * HENRY GOLTZIUS. 
 
 601. The Rape of Europa. The Bull, with Europa on his back, 
 having beguiled the maid from the shore, is in the act of 
 plunging into the water ; she holds on by one horn, and 
 is in the act of imploring protection. Her attendants, in 
 fear on the shore, bewail her, and behind them is Mercury 
 bringing up the herd. Juno is seen in the cloud, and in 
 the distance the mountains of Sidonia. At the bottom of 
 the drawing, towards the left, the artist has placed his 
 initial in a cypher composed of ' H. G.' Pen and sepia, 
 with a purplish wash heightened with white. 
 
 H. 6| in. W. 9f in. 
 
 * CRISPIN DE PASS. 
 Nat. 1560. Ob. . 
 
 602. Frontispiece to the history of the Princes and illustrious 
 Men of Silesia. Indian ink. 
 
 H. iof in. W. 61 in. 
 
 ESAIAS VAN DE VELDE. 
 
 Nat. circa 1590. Ob. . 
 
 603. A Gentleman in the Costume of a Spanish Cavalier, talking 
 to a lady seated in a chair ; over the head of the female is 
 a description in Dutch. Bistre. 
 
 Octagon. H. 8£ in. W. 6 in. 
 
126 
 
 DUTCH SCHOOL. 
 
 * JAMES DE GHEYN. 
 
 Nat. 1565. Ob. . 
 
 604. Banditti Robbing a Traveller. Pen and bistre. 
 
 H. 5| in. W. 4| in. 
 
 JAN VAN GO YEN. 
 Nat. 1596. Ob. 1656. 
 605. A Landscape. In front of a cabaret are seen several 
 waggons and horses halting, attended by numerous 
 figures. Signed with the artist's initials, and dated 1653. 
 Black chalk. 
 
 H. 6f in. W. 11 in. 
 
 JAN VAN GOYEN. 
 
 606. A View of a Town in Holland on the banks of a canal, with 
 boats and numerous figures. Dated 1650. Black chalk, 
 washed with Indian ink. 
 
 H. 6| in. W. 10? in. 
 
 JAN VAN GOYEN. 
 
 607. A View in Holland. On a river are several boats with men 
 drawing a net ; to the left a few trees and houses ; in front 
 of one a man is extracting the toll from a small box 
 attached to the end of a rope, fastened to a swing pole, for 
 collecting the dues from the passing boats. Signed with 
 the artist's initials, and dated 1653. Black chalk, washed 
 with Indian ink. 
 
 H. 61 in. W. iof in. 
 
 JAN VAN GOYEN. 
 
 608. View of a Dutch Town, on the banks of a river ; numerous 
 boats and figures, a windlass in the centre. Dated 1654. 
 
 Black chalk, washed with Indian ink. 
 
 H. 61 in. W. 11 in. 
 
DUTCH SCHOOL. 
 
 127 
 
 JAN VAN GOYEN. 
 
 609. A View on the Sea-shore at Schevening, with numerous 
 
 figures unloading fishing-smacks ; to the right stands 
 Schevening church, and in the offing are other fishing 
 boats. Signed ' V. G.' 1653. Black chalk, washed with 
 Indian ink. 
 
 H. 6\ in. W. 10} in. 
 
 *JAN VAN GOYEN. 
 
 610. An Auberge at the outskirts of a village. A market-cart 
 
 stands before the house, and three figures' beside it; a 
 bank with bushes is on the left of the road, and opposite 
 a group of three farming-men, in conversation with a wo- 
 man standing holding a child, a basket on her arm and a 
 boy at her side. Near the bottom of the ground the artist 
 has signed 'V. G.' 1653. 
 
 H. 61 in. W. io| in. 
 
 ROLAND ROGHMAN. 
 Nat. 1597. Ob. 1686. 
 
 611. View of Castle ' van Buiren,' an ancient Dutch chateau, sur- 
 
 rounded by a moat, over which is a wooden bridge. Black 
 chalk, washed with Indian ink. 
 
 H. 14 in. W. 20 in, 
 
 ROLAND ROGHMAN. 
 
 612. View of an ancient Chateau in Holland, surrounded by a 
 
 moat, over which is a drawbridge leading to the Chateau 
 (Zanthorst). Signed, and dated 1646. Black chalk, washed 
 with Indian ink. 
 
 H 15! in. W. 20| in. 
 
 ROLAND ROGHMAN. 
 
 613. A Castle with a moat. On the left corner the artist 'has 
 
 signed his name ' R. Roghman.' Indian ink, washed. 
 H. 81 in. W. i7f in. 
 
28 
 
 DUTCH SCHOOL. 
 
 JOHN WYNANTS. 
 Nat. 1600. Ob. 1670. 
 614. A Landscape. In the foreground a river, with high banks 
 on either side ; to the left a group of trees, behind which, 
 and separated by a bank, is another group of trees ; to the 
 right, bounded by a river, are several more trees. Evi- 
 dently a study from nature. Pen, washed with Indian ink. 
 
 H. 7l in. W. \o\ in. 
 
 Ex Collection Lord Spencer, William Esdaile, and N. H. 
 
 JOHN WYNANTS. 
 
 615. A Study of a Pollard Willow. In colours. 
 
 H. i 3 J in. W. 7| in. 
 
 *JOHN WYNANTS. 
 
 616. Pollards. Indian ink. 
 
 H. 6£ in. W. 81 in. 
 
 BAERSTRAETEN. 
 
 Nat. 1600. Ob. . 
 
 617. An ancient Ship full-rigged. Pen and bistre. 
 
 H. %\ in. W. 10J in. 
 
 *J. MARSSEN. 
 
 618. Soldiers assembled at an Auberge. On the outskirts of a 
 
 tavern drinking-booths are erected, upon the nearest a flag 
 is flying. A woman is in altercation with a man holding a 
 pipe in his right hand, who is seated upon a cask, on the 
 head of which is an outline drawing of a rampant lion ; 
 two men are playing at cards upon a drum ; behind them 
 stands a man looking on ; two mounted soldiers are behind 
 this group ; one, the trumpeter, has a pipe in his mouth 
 and a jug in his hand : in the foreground is a soldier 
 armed with a breastplate and jerkin, carrying a pike, and 
 
DUTCH SCHOOL. 
 
 129 
 
 behind him other members of the troop on horseback are 
 coming up, while at a short distance stand two men as if 
 on duty. A village with a church is seen in the distance. 
 At the left of the observer, on a piece of wood, are the 
 artist's name and date, J. M., Le Jonge, 1633. ^ en an d 
 sepia, washed with a little Indian ink. 
 
 H. 8£in. W. 1 if. 
 
 ALBERT CUYP (or Kuyp). 
 
 Nat. 1606. Flourished circa 1650. 
 
 619. A View of the Cathedral of Dordrecht on the Meuse. On 
 
 the reverse a sketch. Black chalk, washed with Indian ink. 
 H. 3i in. W. 6| in. 
 
 ALBERT CUYP (or Kuyp). 
 
 620. Study of Two Cows, with Landscape background. Signed 
 
 A. C. Black chalk, washed with Indian ink. 
 H. 3^ in. W. 7 in. 
 
 * ALBERT CUYP (or Kuyp). 
 
 621. Cows in a Meadow. Indian ink washed. 
 
 H. 6} in. W. 8| in. 
 
 ALBERT CUYP (or Kuyp). 
 
 622. Dordrecht Cathedral, with windmills and other buildings, 
 
 two boats sailing on the river Meuse. Black chalk, washed 
 with Indian ink. 
 
 H. 3I in. W. 6| in. 
 
 ALBERT CUYP (or Kuyp). 
 
 623. A River View with Boats ; on the right bank is a cottage, a 
 
 short distance from which a man is fishing. In the corner 
 of the drawing the artist has signed his name, and on the 
 back is written in old Dutch, 1 Oude Wagthuys in der Kill/ 
 Black chalk, washed zvith Indian ink. 
 
 H, 6£ in". W. \i\ in. 
 
 K 
 
i 3 o 
 
 DUTCH SCHOOL. 
 
 ALBERT CUYP (or Kuyp). 
 
 624. A Landscape, with the view of a town in the middle distance, 
 
 in the rear of which are the embankments. Slightly coloured. 
 H. 7f in. W. 9^ in. 
 
 ALBERT CUYP (or Kuyp). 
 
 625. A Landscape; in the background a village. Signed 
 
 ' A. Cuyp.' Black chalk, slightly tinted. 
 
 H. 7£ in. W. 12 in. 
 
 ALBERT CUYP (or Kuyp). 
 
 626. A River View. In the foreground a man rowing a boat, and 
 
 in the rear a village interspersed with trees, in the midst of 
 which is a church. Slightly tinted. 
 
 H. 7£ in. W. iijin. 
 
 Ex Collection Thomas Dimsdale and William Esdaile. 
 
 * CORNELIUS ZACHTLEVEN. 
 
 Nat. 1606. Ob. 
 
 627. A Peasant resting on a Staff. On the right corner the artist 
 
 introduced his initials, C. Z., and the date 1661. Black 
 chalk. 
 
 H. iof. W. 6|. 
 
 * CORNELIUS ZACHTLEVEN. 
 
 628. A Pilgrim holding a pole; at his girdle is a calabash, and on 
 
 the right corner of the drawing the artist's initials and 
 date, C. Z., 1657. 
 
 H. 11 in. W. 7£ in. 
 
 REMBRANDT VAN RYN. 
 Nat. 1606. Ob. 1674. 
 
 629. The Prodigal Son. A study for the prodigal, on his knees, 
 
 in tfie attitude of prayer. A slight sketch. Pen and sepia. 
 
 H. 3? in. W. 3I in. 
 
 Ex Collection Thomas Hudson and Sir Joshua Reynolds. 
 
DUTCH SCHOOL. 
 
 3i 
 
 REMBRANDT VAN RYN. 
 
 630. Man and Woman at a Cottage-door, looking at a Group of 
 
 four Boys playing ; one with a Hoop. Pen and bistre. 
 H. 7 in. W. 4I in. 
 
 REMBRANDT VAN RYN. 
 
 631. A Sketch of a Man, full-length. 
 
 And another of a Woman holding a Child. 
 
 Pen and bistre, both on the same mount. 
 
 H. 4f in. W. z\ in. 
 H. 4 in. W. 2f in. 
 
 Ex Collection Desperet. 
 
 REMBRANDT VAN RYN. 
 
 632. A Jewish Rabbi with a high cap on his head ; behind him 
 
 stands a man. Pen and bistre. 
 
 H. si in. W. 3 f in. 
 
 Ex Collection Lemper eur. 
 
 REMBRANDT VAN RYN. 
 
 633. Two Sketches of an old Woman reading a Book. Studies 
 
 for the portrait of the artist's mother. Pen and bistre. 
 H. 61 in. W. 5| in. 
 
 REMBRANDT VAN RYN. 
 
 634. Study for one of the Figures in the Crucifixion. Pen and 
 
 bistre. 
 
 H. iof in. W. 6f in. 
 
 * REMBRANDT VAN RYN. v 
 
 635. Study for the Sacrifice of Abraham. The angel, with a 
 
 wand, is pointing to the ram caught in a thicket. Pen and 
 bistre washed. 
 
 H. 7| in. W. 7^ in. 
 
32 
 
 DUTCH SCHOOL. 
 
 * REMBRANDT VAN RYN. 
 
 636. Study of a Man in an Oriental Costume. Black chalk. 
 
 H. 1 if in. W. 6fin. 
 
 ♦REMBRANDT VAN RYN. 
 
 637. A Man in a Cloak walking towards the right. Pen and 
 
 bistre. 
 
 H. 6| in. W. 5 in. 
 
 Ex Collection Sir Thomas Marsden and William Esdaile. 
 
 REMBRANDT VAN RYN. 
 
 638. The Departure of Hagar and Ishmael. Red chalk. 
 
 H. 7 in. W. 6 in. 
 
 REMBRANDT VAN RYN. 
 
 639. A sketch of an old Man leaning on a stick. Pen and bistre. 
 
 H. Si in. W. 2f in. 
 
 Ex Collection Desperet and Chev. Claucin. 
 
 REMBRANDT VAN RYN. 
 
 640. A Study of a Lion reposing, with one paw raised to his nose. 
 
 Pen and bistre. 
 
 H. 4I in. W. 7f in. 
 
 REMBRANDT VAN RYN. 
 
 641. The Queen of Sheba at a Repast, and seated at table ; one 
 
 servant has just handed to her a glass, out of which she is 
 drinking, whilst another is seen approaching the table 
 bearing a dish ; at the back of the chair on which she is 
 seated, an attendant is upholding the train of her robe, and 
 by the side of him stands an old man in a cloak. Pen and 
 bistre. 
 
 H. 6| in. W. 91 in. 
 
DUTCH SCHOOL. 
 
 133 
 
 REMBRANDT VAN RYN. 
 
 642. A Landscape with two men on the bank of a canal. On 
 the opposite side are some cottages and trees. Pen and 
 bistre. 
 
 H. 4 in. W. 7| in. 
 
 REMBRANDT VAN RYN. 
 
 643. A Landscape. In the centre runs a brook overhung with 
 
 trees; at one corner a man with a long stick is getting 
 over a hedge. Reed pen and bistre. 
 
 H. 9i in. W. 15I in. 
 
 Ex Collection Baron Denon. 
 
 REMBRANDT VAN RYN. f 
 
 644. A Study of a Landscape. A road leads over a canal to a 
 
 town ; on the left is a group of trees ; to the right a man 
 is driving two oxen ; in the background, slightly indicated, 
 is another group of trees. Pen and bistre washed. 
 H. 7f in. W.i if in. 
 
 * REMBRANDT VAN RYN. 
 
 645. A Lion lying down. Bistre washed. 
 
 H. 2| in. W. Si in. 
 
 * REMBRANDT VAN RYN. 
 
 646. A sleeping Lion. Bistre. 
 
 H. 4 in. W. 6 in. 
 
 JAN LIEVENS. 
 Nat. 1607. Ob. . 
 
 647. A View of the Town of Alkmaar, North Holland. Pen and 
 
 bistre. 
 
 H. 9f in. W. 14 in. 
 
134 
 
 DUTCH SCHOOL. 
 
 *JAN LI EVENS. 
 
 648. A Landscape. Pen and bistre. 
 
 H. 8f in. W. 14I in. 
 
 *JAN LIEVENS. 
 
 649. Portrait of Admiral Van Tromp. Under the left arm the 
 
 artist has introduced his initials, and the date 1652. Black 
 chalk. 
 
 H. I2f in. W. iig in. 
 
 * PETER SANREDAM. 
 
 650. Interior of the Great Church, Amsterdam. On the base of 
 
 a column at the left the artist has signed his name, with 
 the date 1640. In colours. 
 
 H. \\\ in. W. 9£ in. 
 
 ADRIAN BRAUWER. 
 Nat 1608. Ob. 1640. 
 
 651. A Dutch Boor seated and holding a glass of beer; behind 
 
 him is another smoking. Pen and Indian ink. 
 H. 4i in. W. 3 f in. 
 
 GERARD TERBURGH. 
 Nat. 1608. Ob. 1 68 1. 
 
 652. A Lady and Gentleman walking, the gentleman holding the 
 
 lady by the hand. Black chalk, heightened with white. 
 
 H. 8| in. W. 51 in. 
 
 HERMAN ZACHTLEVEN. 
 Nat. 1609. Ob. 1685. 
 
 653. Four small Views of River Scenery. Indian ink. 
 
DUTCH SCHOOL. 
 
 135 
 
 HERMAN ZACHTLEVEN. 
 
 654. A View on the Rhine, with boats and figures. Bistre. 
 
 H. 3| in. W. 3 J in. 
 
 HERMAN ZACHTLEVEN. 
 
 655. A Landscape, with a man crossing a bridge over a canal. 
 
 Sepia washed. 
 
 H. 41 in. W. 51 in. 
 
 HERMAN ZACHTLEVEN. 
 
 656. A Landscape, with cottage and figures, in front of which are 
 
 a few trees. Signed with the artist's monogram. Slightly 
 tinted. 
 
 H. 7 \ in. W. I2| in. 
 
 * HERMAN ZACHTLEVEN. 
 
 657. Entrance to a Village. Black chalk, bistre washed. 
 
 H. 11 in. W. 15^ in. 
 
 ♦HERMAN ZACHTLEVEN. 
 
 658. A View on the Meuse. The entrance to a village; guarded 
 
 by a bastion, on each side the river. On the left of the 
 drawing is a wall, with a flight of steps, down which a man 
 is descending. On the water three or four boats are pass- 
 ing, and in the distance hills slope to a valley, through 
 which the river is seen gliding. Indian ink, washed. 
 H. 6 in. W. iof in. 
 
 HERMAN ZACHTLEVEN. 
 
 659. A View on the Rhine, upon which is a covered boat filled 
 
 with passengers ; two smaller boats are close by with two 
 men in each ; at the foot of a rock are a few houses, and 
 on the opposite side is a church embosomed in trees. 
 Signed H. Z., 1654. In colours. 
 
 H. 7 in. W. 1 if in. 
 Ex Collection Count de Fries. 
 
136 DUTCH SCHOOL. 
 
 ADRIAN VAN OSTADE. 
 Nat. 1610. Ob. 1685. 
 
 660. A Man sitting on a Bench, playing on a violin. Pen and 
 
 sepia washed. 
 
 H. 5f in. W. 4 in. 
 
 ADRIAN VAN OSTADE. 
 
 661. An Exterior. A group of figures round a cottage-door, 
 
 out of which a woman is looking. On a bench by the 
 side of the door sits a man holding a glass of beer ; in 
 front is an itinerant musician, playing on the hurdy- 
 gurdy, surrounded by children listening to his music ; in 
 the background are three boors seated round a tub, 
 smoking. Pen, washed with bistre and Indian ink. 
 
 H. 7f in. W. 6| in. 
 
 Ex Collection William Esdaile. 
 
 * ADRIAN VAN OSTADE. 
 
 662. The Toper. In colours. 
 
 H. 3 in. W. 2| in. 
 
 Ex Collection Thomas Dimsdale and Edward Utterson. 
 
 ♦ADRIAN VAN OSTADE. 
 
 663. A Man walking, with a Bag under his Arm. Signed with the 
 
 artist's initials. In colours. 
 
 H. 3i in. W. if in. 
 
 JOHN BOTH. 
 Nat. 1610. Ob. 1650. 
 
 664. A Landscape. In the foreground a clump of trees , to the 
 
 right a rustic bridge crosses a ravine, in the rear of which 
 are rocky mountains. Red chalk. 
 
 H. 7| in. W. \2\ in. 
 
DUTCH SCHOOL. 137 
 
 JOHN BOTH. 
 
 665. A Landscape, through which runs a road on which are two 
 
 women in conversation, with mules in the distance. The 
 road leads to a hilly background. Pen and bistre, washed 
 with Indian ink. 
 
 H. 7f in. W.i if in. 
 
 JOHN BOTH. 
 
 666. A Landscape. In the foreground three trees ; to the right 
 
 a woman riding on a mule, preceded by an old man and 
 woman ; farther on, another old man driving a mule and a 
 few sheep. At the side are some high rocks and moun- 
 tains in the distance. Pen and bistre, washed with Indian 
 ink. 
 
 H. 7f in. W. 1 if in. 
 
 *JOHN BOTH. 
 
 667. A Landscape. On the left of the view a river passes through 
 
 the distance ; a roadway ascends to the hill across the 
 foreground, by the nearest side of which are two groups of 
 trees and a piece of water. Pen and sepia, with Indian 
 ink washed. 
 
 H.7fin. W. ill in. 
 
 * WILLIAM VAN DE VELDE. 
 
 Nat. 1610. Ob. 1693. 
 
 668. Views of the English and Dutch Fleets engaged in the cele- 
 
 brated Four Days* Fight off Nieuport, 1666, under the com- 
 mand of the Duke of Albemarle and Admirals De Ruyter 
 and Van Tromp. With copious notes. Indian ink. 
 H. 9 in. W. 5ft. 8J in. 
 
 * WILLIAM VAN DE VELDE. 
 
 669. Another view of the same subject. 
 
 H. 9 in, W. 5ft. 8£ in. 
 
138 
 
 DUTCH SCHOOL. 
 
 * WILLIAM VAN DE VELDE. 
 
 670. The Attack of the Dutch Fleet upon Chatham, June, 1667. 
 
 With notes of reference. Indian ink. 
 
 H. 15 in. W. 3ft. 10 in. 
 
 For the accuracy of this drawing, see the Duke of Albemarle's narrative 
 to the House of Commons, printed in Echard's History of England, 
 vol. ii. p. 183. 
 
 * WILLIAM VAN DE VELDE. 
 
 671. Harwich, taken from Landguard Fort, off which the Dutch 
 lay, May 19th, 1672, on the occasion of the Battle 
 between the united Fleets of England and France, under 
 the command of the Duke of York (afterwards James the 
 Second), and the Count d'Estrees, and the Fleet of Holland 
 under Admiral De Ruyter. With copious notes. 
 
 H. in. W. 4ft. 10 in. 
 Sketched for one of the series of pictures, painted by the artist, of the 
 Dutch victories. 
 
 W T ILLIAM VAN DE VELDE. 
 
 672. A Study of the Hull of an English Ship of War, called 
 'The Princess,' and dated 1673. Black chalk, slightly 
 washed with Indian ink. 
 
 H. 7f in. W. 11 in. 
 
 WILLIAM VAN DE VELDE. 
 
 673. A Study of the Hull of an English Ship of War, named 
 ' The Sussex,' with the Royal Arms of England at the stern. 
 Dated 1679, and signed with the artist's initials. Black 
 chalk. 
 
 H. \\\ in. W. 15 in. 
 
 WILLIAM VAN DE VELDE. 
 
 674. A Study of the Hull of a Frigate. Black chaik. 
 
 H. \o\ in. W. 17A in. 
 
DUTCH SCHOOL. 
 
 139 
 
 WILLIAM VAN DE VELDE. 
 
 675. A Study of the Hull of a Dutch Man of War, with a highly 
 
 decorated stern. Black chalk and Indian ink. 
 
 H. iof in. W. I5£ in. 
 
 Ex Collection Paul Sandby. 
 
 WILLIAM VAN DE VELDE. 
 
 676. A foreshortened View of a Dutch Man of War dismantled. 
 
 Indian ink. 
 
 H. 15! in. W. 13! in. 
 
 WILLIAM VAN DE VELDE. 
 
 677. A Marine View. Several vessels at sea in a gale of wind. 
 
 Black chalk, washed with Indian ink. 
 
 H. 12 in. W. i6| in. 
 
 Ex Collection Benjamin West. 
 
 WILLIAM VAN DE VELDE. 
 
 678. A Marine View, with various Dutch Vessels of War. Van 
 
 de Velde's yacht is seen in the foreground. Black chalk, 
 washed with Indian ink. 
 
 H. 6£ in. W. 15! in. 
 
 * WILLIAM VAN DE VELDE. 
 
 679. A Harbour, with Shipping. Indian ink, washed. 
 
 H. 5f in. W. 16 in. 
 
 * WILLIAM VAN DE VELDE. 
 
 680. Van de Velde's Yacht sailing into port, with other Shipping 
 
 in Harbour. Pencil and Indian ink, washed. 
 
 H. 6£ in. W. 15$ in. 
 
140 
 
 DUTCH SCHOOL. 
 
 ♦WILLIAM VAN DE VELDE. 
 
 681. The Arrival of William III., with Shipping in a brisk Gale. 
 
 Pencil and Indian ink, washed. 
 
 H. ng in. W. 19! in. 
 
 * WILLIAM VAN DE VELDE. 
 
 682. Another Study of the same. Pencil and ink washed. 
 
 H. 8| in. W. 13! in. 
 
 Ex Collection P. H. Lankrink. 
 
 * WILLIAM VAN DE VELDE. 
 
 683. The Arrival of William III. Peficil and Itidian ink washed. 
 
 H. 9l in. W. 18 in. 
 
 * WILLIAM VAN DE VELDE. 
 
 684. Dutch Vessels in a Calm. Black lead and sepia washed. 
 
 H. 10 in. W. 16 in. 
 
 * WILLIAM VAN DE VELDE. 
 
 685. Boats on the Beach, and Figures, with Dutch Ships in the 
 
 distance. Black lead and India?i ink washed. 
 H.9fin. W. 15I in, 
 
 * WILLIAM VAN DE VELDE. 
 
 686. Sea-beach, with Man of War's Boats landing at a Jetty. 
 
 Ships of war at anchor. Black lead and sepia washed. 
 H. 9 £ in. W. 155 ^. 
 
 * WILLIAM VAN DE VELDE. 
 
 687. Sea-shore in a Calm. Vessels in the distance. Black lead 
 
 and ink washed. 
 
 H. 9 7 g in. W. il\ in - 
 
DUTCH SCHOOL. 
 
 141 
 
 * WILLIAM VAN DE VELDE. 
 
 688. The Stern of an English War Ship, with the Royal Standard 
 
 and other Flags flying. Dated 1660. Indian ink washed. 
 H. 32£ in. W. i8f in. 
 
 * WILLIAM VAN DE VELDE. 
 
 689. A foreshortened View of the same Vessel, showing the bows 
 
 and the quarter-deck. Indian ink washed. 
 
 H. 25 \ in. W. 2o\ in. 
 
 * WILLIAM VAN DE VELDE. 
 
 690. A broadside View of a Ship of War. Indian ink washed. 
 
 H. 24 in. W. 22J in. 
 
 * WILLIAM VAN DE VELDE. 
 
 691. Sea Beach with Vessels at Anchor. A man on the jetty 
 
 hailing a ship. Black lead and ink washed. 
 
 H. 9f in. W. 15J in. 
 
 * WILLIAM VAN DE VELDE. 
 
 692. On the Zuyder Zee. Vessels at Anchor, Wieringen in the 
 
 distance. Indian ink washed. 
 
 H. 6| in. W. 153 in. 
 
 * WILLIAM VAN DE VELDE. 
 
 693. A Dutch Harbour. With Men of War at anchor. India?i 
 
 ink washed. 
 
 H. 6f in. W. i6| in. 
 
 * WILLIAM VAN DE VELDE. 
 
 694. View on the River with Dutch Men of War. Black lead. 
 
 H. 61 in. W. 10 in. 
 
 * WILLIAM VAN DE VELDE. 
 
 695. Dutch Men of War. Indian i?ik washed. 
 
 H. 9 in. W. 21 in. 
 
142 
 
 DUTCH SCHOOL. 
 
 * WILLIAM VAN DE VELDE. 
 
 696. A Calm, with Vessels at Anchor. Indian ink washed. 
 
 H. iof in. W. 155 in. 
 
 ♦WILLIAM VAN DE VELDE. 
 
 697. A View on the Coast of Holland. Indian ink washed. 
 
 H. 6 in. W. 15! in. 
 
 * WILLIAM VAN DE VELDE. 
 
 698. Boats at Sea. Black lead. 
 
 H. *j\ in. W. ugin. 
 
 Ex Collection Jonathan Richardson. 
 
 ♦WILLIAM VAN DE VELDE. 
 
 699. A Sea Beach. Indian ink washed. 
 
 H. 61 in. W. i6| in. 
 
 ♦WILLIAM VAN DE VELDE. 
 
 700. A Calm with Vessels. Kykduin in the distance. At the 
 
 back is the date 5 June, 1655. Indian ink washed. 
 H. 6\ in. W. 86| in. 
 
 ♦WILLIAM VAN DE VELDE. 
 
 701. Dutch Men of War in a breeze, Saluting. Indian ink 
 
 washed. 
 
 H. 7 in. W. 9f in. 
 
 Ex Collection P. H. Lankrink. 
 
 GERARD DOUW. 
 Nat. 1613. Ob. 1674. 
 
 702. A Man wearing a cap, seated with his hands clasped before 
 
 him. Red chalk. 
 
 H. 6\ in. W. 7| in. 
 
DUTCH SCHOOL. 
 
 143 
 
 * GERARD DOUW. 
 
 703. Portrait of a Lady with a cap and ruff. Silver-point on 
 
 Vellum. 
 
 H. 5f in. W. 4f in. 
 
 * GABRIEL METZU. 
 Nat. 1615. Ob. 1658. 
 
 704. A Dutch Boor, with a cap, holding a pipe in one hand, 
 
 and a bottle in the other. Black chalk, heightened with 
 
 white on blue paper. 
 
 H. 13! in. W. 7f in. 
 
 GABRIEL METZU. 
 
 705. A Peasant seated in a chair, holding a glass of liquor, with a 
 
 pipe in his right hand. Black chalk, heightened with white. 
 H. 10 in. W. 7f in. 
 
 GABRIEL METZU. 
 
 706. An Interior of a Cottage, in which a woman seated in a 
 
 chair is watching a child in a cradle, and at the same time 
 caressing a cat. Signed by the artist, G. Metzu. Black 
 chalk heightened with white. 
 
 H. 12 in. W. 10 in. 
 
 GABRIEL METZU. 
 
 707. A Dutch Boor seated at a table holding a glass of beer in 
 
 one hand and a tobacco-pipe in the other. Black chalk, 
 heightened with white. 
 
 H. 9 in. W. 6| in. 
 
 Ex Collection M. Desperet. 
 
 * GABRIEL METZU. 
 Nat. 1 615. Ob. 1658. 
 
 708. Study ©f a Man kneeling upon one knee. Black chalk, 
 
 heightened with white. 
 
 H. 1\ in. W. 6i in. 
 
144 
 
 DUTCH SCHOOL. 
 
 * GABRIEL METZU. 
 
 709. Study of a Man leaning upon a staff. Black chalk, heightened 
 with white on blue paper. 
 
 H. iof in. W. 6 in. 
 
 P. VAN DER BERG. 
 Nat. 1615. Ob. 1655. 
 710. The interior of J. P. Zoome's Picture Gallery, an intimate 
 friend of Rembrandt. He is represented exhibiting his pic- 
 tures to Prince Eugene and several amateurs. Pen, washed 
 with Indian ink and sepia. 
 
 H. 9| in. W. i6f in. 
 Ex Collection Ploos Van Amstel. 
 
 THOMAS WYCK. 
 Nat. 1616. Ob. 1686. 
 711. A View on the coast of the Mediterranean, with Boats and 
 Figures ; in the middle distance a castle on a hill. Indian 
 ink. 
 
 H. 6 in. W. 8£ in. 
 
 * THOMAS WYCK. 
 712 A Harbour in the Mediterranean. The entrance to which 
 is guarded by strong fortifications situated on the brow 
 of two hills, in the distance a bridge connects the city with 
 the suburbs, also fortified. The masts of two ships are 
 seen riding at the mouth of the harbour. Indian ink 
 washed. 
 
 H. si in. W. 8* in. 
 SOLOMON RUYSDAEL. 
 
 Nat. 1616. Ob. 1670. 
 713. View of Dort Cathedral, on the Meuse, with many boats 
 and figures. The Cathedral is seen in the distance with 
 water in the foreground. Black chalk, washed with Indian 
 ink. 
 
 II. 8| in. W 13I in. 
 
DUTCH SCHOOL. 
 
 145 
 
 ♦SOLOMON RUYSDAEL. 
 
 714. A Landscape with two figures on the brow of a hill. Black 
 
 chalk. 
 
 H. Sl in. W. 8| in. 
 
 ANTONIO WATERLOO. 
 Nat. Antwerp, 1618. Ob. 1679, 
 
 715. A Forest Scene, two men conversing beneath a group of 
 
 oaks. Black chalk, heightened with white, on grey paper. 
 
 H. 15 in. W. 2i£ in. 
 
 Ex Collection Ploos Van Amstel. 
 
 ANTONIO WATERLOO. 
 
 716. A Woody Landscape. In the foreground a river with trees 
 overhanging its banks. Black chalk, heightened with white, 
 on a grey ground, and washed with Indian ink. 
 
 H. 17^ in. W. 22 in. 
 
 Ex Collection M. Desperet. 
 
 ANTONIO WATERLOO. 
 
 717. A View in Holland. In the foreground a canal; to the left 
 
 a wooden building; a bridge over the canal leads to a 
 cottage. Black chalk, heighte7ied with white, on grey paper, 
 and washed with Indian ink. 
 
 H. 15 in. W. 22 in. 
 Ex Collection Ploos Van Amstel. 
 
 * ANTONIO WATERLOO. 
 
 718. A Forest Scene. Black chalk and Indian ink. 
 
 H. iif in. W. 18$ in. 
 
 * ANTONIO WATERLOO. 
 719. A Pastoral Landscape. A man is fishing from the bank, 
 and on a rustic bridge in the foreground, a man and 
 woman are in conversation. Indian ink washed. 
 H. 7| in. W. n| in. 
 
 L 
 
146 
 
 DUTCH SCHOOL. 
 
 * ANTONIO WATERLOO. 
 
 720. A Farm House with trees by the side of a road. Black 
 
 chalk and Indian ink washed, heightened with white, on blue 
 paper. 
 
 H. 15$ in. W. 18 in. 
 
 PHILIPPE DE KONING. 
 Nat. 1619. Ob. 1689. 
 
 721. A study of two Heads. Signed by the artist. Pen and 
 
 bistre. 
 
 H. 4$ in. W. 5£ in. 
 
 PHILIPPE DE KONING. 
 
 722. A View on the banks of the river Amstel, near Amsterdam; 
 
 to the right a windmill near a cottage ; a woman and boy 
 are walking in front of it ; close by, a man is towing a barge ; 
 in the middle of the river are two boats with figures ; behind 
 the windmill a man is leaning on a bridge. Water- 
 colours. 
 
 H. 9f in. W. iag in. 
 
 * PHILIPPE DE KONING. 
 
 723. Landscape with a Castle on a hill. Pen and bistre, with 
 
 Indian ink washed. 
 
 H. 6£ in. W. 9f in. 
 
 * PHILIPPE DE KONING. 
 
 724. A Landscape with a Windmill. In colour. 
 
 H. 11^ in. W. i6f in. 
 
 ♦PHILIPPE DE KONING. 
 
 725. A Rocky Landscape. A river is seen gliding through the 
 
 country, with houses on its banks, and in the fore- 
 ground is a fountain with a female, partially naked, bathing 
 her feet. Pen and Indian ink washed. 
 
 H. 7f in. W. 12^ in. 
 
DUTCH SChOOL. 
 
 '47 
 
 ♦ARNOLD VANDER NEER. 
 
 Nat. 1619. Ob. 1683. 
 
 726. A Landscape by Moonlight. On the border of a forest, on 
 
 a winter's night, a man, woman, and a boy are driving 
 cattle along a road leading to a village, seen in the distance. 
 The moon has risen, and although partly obscured by clouds, 
 casts strong shadows from the several objects seen in the 
 drawing. Pen and sepia, washed with Indian ink. 
 H. 6 in. W. 5£ in. 
 
 BARTHOLOMEW BREEMBERG. 
 Nat. 1620. Ob. 1660. 
 
 727. A Landscape, with the Coliseum and other buildings, at 
 which two men in the foreground are looking. Signed 
 l B.B. fecit: Bistre. 
 
 H. si m. W. 7| in. 
 Ex Collection Lord Spencer. 
 
 BARTHOLOMEW BREEMBERG. 
 
 728. Portrait of the Artist, drawn by himself, holding his palette 
 
 and brushes. Black chalk. 
 
 H. 11 in. W. 8fin. 
 
 CORNELIUS BEGA. 
 Nat. 1620. Ob. 1664. 
 
 729. A Study for the figure of a Man kneeling. Signed with the 
 
 initials of the artist, and dated 1654. Red chalk. 
 H. 1 if in, W. 7f in. 
 
 HERMAN SWANEVELT (called the Hermit of Italy). 
 Nat. 1620. Ob. 1680. 
 
 730. A Landscape. To the right a river, and to the left a group 
 
 of figures behind some trees; in the distance a town. 
 Pen and sepia, washed with Indian ink. 
 
 H. 3f in. W. 6£ in. 
 
148 
 
 DUTCH SCHOOL. 
 
 HERMAN SWANEVELT (called the Hermit of Italy). 
 
 731. A Landscape. In the foreground are two men walking, and 
 
 behind them are houses on a rock. Pen and sepia, washed 
 with Indian ink. 
 
 H. 6\ in. W. 9| in. 
 
 HERMAN SWANEVELT (called the Hermit of Italy). 
 
 732. A Woody Landscape. In the foreground a group of four 
 
 figures, in the rear of which a man and woman are walking. 
 
 Pen and sepia, washed with Indian ink. 
 
 H. 6\ in. W. iofin. 
 
 Ex Collec tion Richard Houlditch. 
 
 HERMAN SWANEVELT (called the Hermit of Italy). 
 
 733. A Landscape. In the middle distance a man riding on a 
 
 mule towards a river from which other figures are walking. 
 On the same road, but nearer to the foreground, are two 
 travellers. Pen a?id bistre. 
 
 H. 8 in. W. iof in. 
 Ex Collection Benjamin West. 
 
 * HERMAN SWANEVELT (called the Hermit of Italy). 
 
 734. An Italian Landscape. A fountain by the roadside; a tomb 
 
 in the middle distance; and beyond, buildings with a 
 walled town on the banks of the river. Pen and bistre, 
 with bistre and Indian ink wash. 
 
 H. 3f in. W. 6\ in. 
 
 * HERMAN SWANEVELT (called the Hermit of Italy). 
 
 735. A Landscape with Mountains, and a lake. Travellers 
 
 descending a road in the middle distance, and two 
 females in conversation under a tree in the fore- 
 ground of the same road. Pen and bistre, with Indian 
 ink washed. 
 
 H. 7 J in. W. 1 if in. 
 
DUTCH SCHOOL. 
 
 149 
 
 HERMAN SWANEVELT (called the Hermit of Italy). 
 
 736. A Landscape, with numerous figures, representing Joseph 
 
 being sold by his brethren to the Ishmaelites. Pen and 
 bistre, washed. 
 
 H. 71 in. W. iof in. 
 
 HERMAN SWANEVELT (called the Hermit of Italy). 
 
 737. A Landscape. In the foreground are three figures driving a 
 
 flock of sheep. Pen and bistre, washed with Indian ink. 
 H. 9$ in. W. 14I in, 
 
 HERMAN SWANEVELT (called the Hermit of Italy). 
 
 738. An upright Landscape, with Elijah fed by an Angel. To the 
 
 left is a group of trees ; on the second plain are a few trees 
 on an eminence ; in the centre flows a river down the side 
 of a mountain. Pen, washed with Indian ink and bistre. 
 
 H. SI in. W. 7I in. 
 
 Ex Collection M. de Vos and William Esdaile. 
 
 * ARNOLD MAASS. 
 Nat. 1620. Ob. 
 
 739. The Chateau of Egmont, North Holland. Indian ink. 
 
 H. io| in. W. 1 5| in. 
 
 PHILIPPE WOUVERMANS. 
 Nat. 1620. Ob. 1668. 
 
 740. A Study of a Man holding a hawk on his wrist, accompanied 
 
 by two dogs. Black chalk. 
 
 H. 4 f in. W. z\ in. 
 
 * PHILIPPE WOUVERMANS. 
 
 741. A Study for a Horse-fair. In the foreground a man has 
 
 mounted upon a horse, who, much to his consternation, 
 
5° 
 
 DUTCH SCHOOL. 
 
 and that of a woman with a barrow, is kicking out his 
 heels ; beside him are a man and woman mounted ; and 
 by the side of the female stands the buyer ; behind is a 
 woman ; other figures are in the background by a cabaret. 
 Brown chalk. 
 
 H. ii^ in. W. i 3 |in. 
 
 Ex Collection . Mark unknown. 
 
 * PHILIPPE WOUVERMANS. 
 
 742. Study of Falconers. Bistre, on umber-coloured paper, 
 
 heightened with turpentine white. 
 
 H. 8| in. W. \2\ in. 
 
 * PHILIPPE WOUVERMANS. 
 
 743. A Hawking Party. Red chalk. 
 
 H. $1 in. W. 7| in. 
 
 PHILIPPE WOUVERMANS. 
 
 744. Cavalry Soldiers, with Trumpeters blowing 'to horse;' a 
 woman standing by the side of one of them, and a dog in 
 the foreground. Drawn with a brush, slightly washed with 
 warm colour. 
 
 H. 7 in. W. 9 in. 
 
 * PHILIPPE WOUVERMANS. 
 
 745. A Halt by the Roadside. At the door of a cottage a tired 
 woman is lying asleep on a bundle, a dog at her feet and 
 a soldier sitting behind her with a musket over his shoulder ; 
 before this group stands a horse with a halter round his 
 head, and behind him on the ground are two children 
 seated. A man is going away in the middle distance. On 
 the foreground the artist has affixed his initials, 1 P. F. W.' 
 H. 7^ in. W. u| in. 
 Ex Collection Chevalier Claussen. 
 
DUTCH SCHOOL, 
 
 * PHILIPPE WOUVERMANS. 
 
 746. An expansive Landscape with a Cornfield in the middle 
 
 distance, in which men are reaping, while others are load- 
 ing a waggon. Various figures are passing through to 
 a farm-house in the distance, beside a river with 
 boats ; and in the foreground a hawking party, with two 
 beggars asking alms from a horseman. Pen and bistre, 
 washed with Indian ink. 
 
 H. 9 in. W. 13! in. 
 Ex Collection Marquis de Lagoy and William Esdaile. 
 
 ALBERT VAN EVERDINGEN. 
 Nat. 1 62 1. Ob. 1675. 
 
 747. A View in Norway. To the right a tower with a flag flying 
 
 on the top, and a group of three figures at the foot. 
 Signed ' A. V. E.' Pen and bistre. 
 
 H. 4f in. W. 6| in. 
 
 ALBERT VAN EVERDINGEN. 
 
 748. A View on the Sea -shore, with boats and figures, on the 
 
 beach. Signed with the artist's initials. Pen and sepia. 
 
 H. 3f in. W. 7£ in. 
 
 ALBERT VAN EVERDINGEN. 
 
 749. A Landscape, with a river running through it ; on the banks 
 
 are two fishermen with their nets drying ; to the right a 
 man in a boat, beyond which is a sailing-boat with four 
 figures, and cattle grazing on the bank ; in the distance 
 are some trees, a church, and three windmills. Signed 
 ' A. V. E.' Indian ink. 
 
 H. 7 in. W. 1 if in. 
 
 * ALBERT VAN EVERDINGEN. 
 
 750. A Landscape, with Fishermen drying their nets. On the 
 right of the view two men, just come ashore in their boat, 
 
52 
 
 DUTCH SCHOOL. 
 
 are hanging their nets to dry, a second boat is hauled up 
 on the river bank, and three men are leaving her. A 
 church with a house stands on an eminence ; on the 
 opposite side of the river is a house near to the water's 
 edge, and on the left a thatched cottage, partly sup- 
 ported on poles with two trees, and a bank leading to the 
 centre of the foreground, upon which the artist has placed 
 his initials ' A. E. V.' Indian ink washed. 
 
 H. 6i in. W. gi in. 
 
 * ALBERT VAN EVERDINGEN. 
 
 751. Alkmaar. On a landing-stage a woman appears to have 
 
 been washing three lobster-pots, and is preparing to put 
 them on board a boat which two men are endeavouring to 
 get alongside ; a man on the stage waiting to go on board 
 the same boat. On the left of the view a man is lower- 
 ing the halyards of a mainsail to bring a sloop round to 
 the same stage. The wind is blowing fresh, and the effect 
 is well told by the vessel's sailing up the river, on the 
 banks of which is seen a town with churches and mills. 
 On a piece of board in the foreground the artist has placed 
 his initials, ' A. V. E.' Indian ink, washed. 
 
 H. 7 in. W. 1 1| in. 
 Ex Collection Count Lagoy. 
 
 J. B. WEENINX. 
 Nat. 1621. Ob. 1660. 
 
 752. A Traveller seated and reclining on a trunk. Washed with 
 
 Indian ink. 
 
 H. 8f in. W. 6f in. 
 
 ADAM PYNAKER. 
 Nat. 1621. Ob. 1673. 
 
 753. A Landscape. In the foreground are two trees, at the foot 
 
 of one a man is partly seen ; behind him a river, with a 
 
DUTCH SCHOOL. 
 
 iS3 
 
 path leading up a hill to a house. Pen and sepia, washed 
 with Indian ink. 
 
 H. I5f in. W. iif in. 
 
 J. VAN DER DOES. 
 Nat. 1623. Ob. 1673. 
 
 754. A Landscape. In the foreground a group of sheep and 
 
 goats. The shepherd is seated under the shadow of a 
 tree; near to him are other sheep and goats. In the 
 background is another shepherd, driving forward a flock 
 of sheep. Signed and dated, 'J. V. Does, 1657.' Indian 
 ink. 
 
 Ex Collections John Macgowan, William Roscoe, and W. Esdaile. 
 
 *J. VAN DER DOES. 
 
 755. A Shepherd with sheep at a well. Signed by the artist, and 
 
 dated 1672. Sepia washed. 
 
 H. 8 in. W. 9f in. 
 
 *J. VAN DER DOES. 
 
 756. The Holy Family. The mother seated in the centre of the 
 
 picture, under a tree by the side of a fountain, is watching 
 the Child sleeping on her lap; in the distance, Joseph 
 directs his attention towards them. A group of sheep 
 and goats, with a lamb, are in repose by the Virgin, and on 
 her right is a wall with the artist's name. The ass is 
 partly seen descending a hill in the distance. In colours. 
 H. n\ in. W. iof in. 
 Ex Collection Ploos Van Amstel. 
 
 *J. VAN DER DOES. 
 
 757. Moses and the Burning Bush. Moses is seen crouching 
 
 under a tree in flames, with a flock of sheep. On the 
 right corner of the drawing the artist has written his 
 name, i J. V. D.,' and date 1658. Bistre wash, and a little 
 black chalk. 
 
 H. 8| in. W. io\ in. 
 
'54 
 
 DUTCH SCHOOL. 
 
 NICOLAS BERCHEM. 
 Nat. 1624. Ob. 1683. 
 
 758. A Female milking a Goat; behind her is a large pitcher; 
 
 on each side are other goats, and in the background a 
 cottage. Red chalk. 
 
 H. Sl in. W. 7* in. 
 
 Ex Collection Lempereur. 
 
 NICOLAS BERCHEM. 
 
 759. A Sheet of Studies of Goats, Sheep, and Cows. Black 
 
 chalk. 
 
 H. 8& in. W. I5| in. 
 
 NICOLAS BERCHEM. 
 
 760. A Sheet of Studies of a Group of Sheep. Black chalk. 
 
 H. 8| in. W. I4f in. 
 
 * NICOLAS BERCHEM. 
 
 761. A Bullock Cart. By the wall of a barn are two bulls, one 
 
 standing and the other lying on the ground, waiting to 
 be yoked to a heavy country cart. A dog is in the fore- 
 ground behind the bull, and on the cart's pole is the 
 yoke for the oxen. Pen and bistre, washed with Indian 
 ink. 
 
 H. Sl in. W. 7 l in. 
 
 NICOLAS BERCHEM. 
 
 762. A Sketch for a Landscape. In the foreground is a girl 
 milking a goat; to the right a woman, standing by the 
 side of a cow, and a goat ; and to the left stands a mule. 
 Signed by the artist. Pen and bistre. 
 
 H. 6\ in. W. 7I in. 
 
DUTCH SCHOOL. 
 
 '55 
 
 NICOLAS BERCHEM. 
 
 763. A Landscape with a Goat, behind which a woman is milking 
 
 a Cow, and another carrying a basket stands by her side. 
 Signed by the artist. Indian ink, washed. 
 
 H. n\ in. W. 8 in. 
 
 Ex Collection William Esdaile. 
 
 NICOLAS BERCHEM. 
 
 764. A Study of Three Goats. Black chalk, heightened with white. 
 
 H. 7 in. W. iof in. 
 
 Ex Collection Mariette. 
 
 NICOLAS BERCHEM. 
 
 765. A Landscape. In the foreground a group of figures, a female 
 
 on a donkey, and by her side a man and two goats ; 
 behind her sits a man on a laden mule \ in front of her 
 a girl, a goat, and two dogs. A river flows through the 
 centre, and on its bank a man is driving cattle. Signed 
 by the artist. Sepia washed. 
 
 H. g{ in. W. 13I in. 
 
 * PETER WOUVERMANS. 
 
 Nat. 1625. Ob. . 
 
 766. A Halt at the entrance to a sutler's booth ; a group of officers 
 
 are assembled, one of whom holds his horse which a man 
 is rubbing down ; their attention seems directed to one of 
 their companions seated on a basket, who is forward in 
 making love to the mistress of the booth. In colours. 
 H, 7 in. W. \o\ in. 
 
 * PETER WOUVERMANS. 
 
 767. The March of an Army. The companion drawing. A 
 
 General on horseback by the side of a river is giving 
 instructions to his officers. A tent stands on the rising 
 ground, and the army and camp followers are seen on the 
 march. In colours. 
 
 H. 7 in. W. \o\ in. 
 
iS6 
 
 DUTCH SCHOOL. 
 
 JOHN LINGELBACH. 
 Nat. 1625. Ob. 1687. 
 
 768. A Seaport. In the foreground several figures are unlading 
 
 a ship and packing bales of goods on the back of a mule ; 
 under the stern are six men in a boat, and two others on 
 shore conversing; in the distance are other boats and 
 figures. Signed '•J. Lingelbach feet' Indian ink. 
 H. 9 in. W. 14I in. 
 
 JOHN LINGELBACH. 
 
 769. A View of a Seaport in the Levant. The companion 
 
 drawing. Numerous figures, some of whom are occupied 
 with bales of goods, and near them a lady and gentleman 
 walking, followed by a female attendant. Signed % J. 
 Lingelbach fed. 1 Indian ink. 
 
 H. 9 in. W. 14! in. 
 
 PAUL POTTER. 
 Nat. 1625. Ob. 1654. 
 
 770. A Study of Pigs, and beneath, in the same manner, a group 
 
 of figures. 
 
 H. 4 | in. W. sf in. 
 
 Ex Collection Uvedale Price. 
 
 At the back of the drawing Mr. Price has written that he bought it at the 
 Hague, May 29, 1789. 
 
 PAUL POTTER. 
 
 771. A Study of an Old Horse standing by the side of a dead 
 
 one. Study for the Etching by himself called ' the Mazette/ 
 Black chalk. (See back of the drawing.) 
 
 H. 3f in. W. 4f in. 
 
 Also, a Study of the hinder part of a Bull. Black chalk. 
 H. 3* in. W. 4 £ in. 
 
DUTCH SCHOOL. 
 
 157 
 
 PAUL POTTER. 
 
 772. A Bull's Head, the Study for the picture at the Hague. 
 
 Black chalk, 
 
 H. iofin. W. ii| in. 
 
 * PAUL POTTER. 
 
 773. A Steer. Red chalk. 
 
 Octagon. H. 1\ in. W. 8J in. 
 
 * PAUL POTTER. 
 
 774. A Pig lying asleep. Black chalk. 
 
 H. 3 in. W. 6 in. 
 
 * PAUL POTTER. 
 
 775. Study of Six Pigs and a Wheelbarrow. Black chalk. 
 
 H. 4 in. W. 5f in. 
 
 * JAN VANDER ULFT. 
 Nat. 1627. Ob. 
 
 776. An upright Landscape, with a road leading to a bridge, on 
 
 which stands a round tower ; other buildings and hills in 
 the distance. Pen and umber washed. 
 
 H. I7f in. W. 14^ in. 
 
 JAN VANDER ULFT. 
 
 777. A View of Ancient Roman Ruins. Dated and signed by 
 
 the artist, 1667. Pen and sepia. 
 
 H.5fin. W. 7| in. 
 
 JAN VANDER ULFT. 
 
 778. A View of i II Ponte Mola? Numerous figures are seen 
 
 passing over; on the banks of the river several other 
 figures j a boat is moored alongside, and on the opposite 
 shore an obelisk and some ruins. Pen and Indian ink. 
 H. 7^ in. W. 11 J in. 
 Ex Collection Van Gole aud William Esdaile. 
 
i 5 8 
 
 DUTCH SCHOOL. 
 
 * HENRY VERSCHURING. 
 Nat. 1627. Ob. 1690. 
 
 779. A View of an Encampment under a large building, with sut- 
 
 lers' booths in the middle distance ; in the foreground are 
 groups of figures variously occupied ; and in the centre is 
 a group of trumpeters and drummers. Pen and sepia, 
 washed with Indian ink. 
 
 H. Ii| in. W. 16 in. 
 
 WILLIAM ROMEYN. 
 Nat. 1630. Ob. 
 
 780. A Landscape. In the foreground a group of cattle near 
 
 ruined columns ; a river runs across the centre ; on the 
 other side, under some buildings, is a similar group of 
 cattle, some of which are fording the stream. Signed. 
 Indian ink, washed. 
 
 H. 15 in. W. 12 in. 
 
 LUDOLPH BAKHUIZEN. 
 Nat. 1631. Ob. 1709. 
 
 781. A Marine View, with boats and shipping lying at anchor. 
 
 To the left the sky is illumined by the rays of the setting 
 sun behind a rock. Pen and sepia, washed with Indian 
 ink. 
 
 H. 4 in. W. 6| in. 
 
 LUDOLPH BAKHUIZEN. 
 
 782. A Sea View off the Coast of Holland, with vessels in a fresh 
 breeze. Bistre and Indian ink. 
 
 H. 5 in. W. 7 in. 
 
DUTCH SCHOOL. 
 
 »59 
 
 LUDOLPH BAKHUIZEN. 
 
 783. A large Ship under Sail ; a smaller one seen in the distance. 
 Pen and Indian ink, washed. 
 
 H. iof in. W. 7^ in. 
 
 *LUDOLPH BAKHUIZEN. 
 
 784. The Vessel in which William III. left Holland for England. 
 She is lying broadside on the water, with her topsails aback, 
 and the Dutch flag flying at the jib-boom and mast-heads ; 
 the English flag on a staff at her stern. Another war-ship 
 is ahead of her, and a naval yacht sailing towards them ; 
 in the distance is a low sandy beach with a lighthouse.. 
 Pen and sepia and India ink washed. 
 
 H. Si in- W. 8f in. 
 
 Ex Collection M. de Vos and William Esdaile. 
 
 * LUDOLPH BAKHUIZEN. 
 
 785. A Seaport, with hills in the distance, and vessels sailing and 
 at anchor. Signed by the artist. Pen and bistre, and Indian 
 ink washed. 
 
 H. 4f in. W. 6| in. 
 
 * LUDOLPH BAKHUIZEN. 
 
 786. His own Portrait, drawn in 1688. Oval. Red chalk. 
 
 H. 8£ in. W. 6f in. 
 
 * LUDOLPH BAKHUIZEN. 
 
 787. A Gale. A ship of war riding at anchor, with cables out of 
 
 each bow. A three-masted boat is going to render her 
 assistance ; a town and fort, with a flag on a tower, in the 
 distance. Pen and Indian ink washed. 
 
 H. 3f in. W. 5f in. 
 
DUTCH SCHOOL. 
 
 * LUDOLPH BAKHUIZEN. 
 
 788. A Calm, with a Dutch line-of-battle ship at anchor; the 
 
 sails hanging loosely to the yards. Pen and sepia, with 
 Indian ink wash. 
 
 H. 7£ in. W. 9l in. 
 
 Ex Collection Van Haaken. 
 
 LUDOLPH BAKHUIZEN. 
 
 789. A Marine View. In the foreground a boat is putting off 
 
 from a smack to join a three-masted Dutch ship lying at 
 anchor ; other vessels are seen in the distance. Signed 
 with the artist's initials, ' L. B.' on the flag of the smack. 
 Pen, washed with Indian ink. ' 
 
 H. 7£ in. W. ui in. 
 
 Ex Collection Van Briunanburg. 
 
 LUDOLPH BAKHUIZEN. 
 
 790. A Marine View. In the foreground two large Dutch ships 
 
 of war in full sail. Pen and Indian ink. 
 
 H. iig in. W. I7fin. 
 
 JOHN HENDRICK ROOS. 
 Nat. 1 63 1. Ob. 1685. 
 
 791. Two Horsemen halting under a Gateway, one of whom has 
 
 dismounted, and is fastening the girth of his horse ; by 
 his side are a boy and three dogs ; in the distance other 
 horsemen are seen approaching. Signed by the artist. Pen 
 and Indian ink. 
 
 H. 9^ in. W. iof in. 
 
 JOHN HENDRICK ROOS. 
 
 792. A Group of Sheep attended by a Shepherd, who is seated 
 
 and reclining against a pedestal, on which stands a sculp- 
 tured vase, sheltered by the branch of a tree. Signed L J. 
 H. Roos fecit? Pen, washed with Indian ink and bistre. 
 
 H. 13I in. W. \o\ in. 
 
 Study from which the print was made. See Bartch, No. 31. 
 
DUTCH SCHOOL. 
 
 *JOHN HENDRICK ROOS. 
 
 793. Peasants, with Sheep and Cattle, going to Market; on a 
 
 ruin in the foreground, the artist has signed ' J. Roos fe.' 
 and the date ' 1673.' 
 
 H. 11 \ in. W. 1 sf in. 
 
 *A. VAN DE CABEL. 
 
 Nat. 1631. Ob. 1695. 
 
 794. A Landscape, with Trees growing from Banks. Indian ink 
 
 washed, heightened with white. 
 
 H. 14 in. W. io| in. 
 
 *A. VAN DE CABEL. 
 
 795. An Italian Landscape, seen through a Group of Trees. Pen 
 
 and Indian ink washed, heightened with white, on brown 
 paper. 
 
 H. 18 in. W. io* in. 
 
 *A. VAN DE CABEL. 
 
 796. A Rocky Landscape, with a Bridge in the middle distance. 
 
 Pen and sepia, and Indian ink wash. 
 
 H. 6| in. W.i i£ in. 
 
 WILLIAM VAN DE VELDE, Jun. 
 Nat. 1633. Ob. 1707. 
 
 797. The English and Dutch Fleets. Men rowing in boats. 
 
 Signed with the artist's initials. Pe?i and sepia, washed 
 with Indian ink. 
 
 H. 7| in. W. 13 in. 
 Ex Collection John Barnard and William Esdaile. 
 
 WILLIAM VAN DE VELDE, Jun. 
 
 798. A Sea View, with several Dutch Ships of War and Boats with 
 
 Crews rowing. Pen, washed with Indian ink. 
 H. 6 in. W. 1 1 in. 
 
 Ex Collection B. West, Sir Thomas Lazvrence, and William Esdaile. 
 
 M 
 
62 
 
 DUTCH SCHOOL. 
 
 WILLIAM VAN DE VELDE, Jun. 
 
 799. A Calm off the Coast of Holland, with various vessels lying 
 
 at anchor. Indian ink, washed. 
 
 H. 5I in. W. I5| in. 
 
 WILLIAM VAN DE VELDE, Jun. 
 
 800. A View of the Port of Amsterdam, with numerous vessels at 
 
 anchor in front of the city. Signed with the artist's initials. 
 Pen and bistre, washed with Indian ink. 
 
 H. 5£ in. W. 14! in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 801. A Calm, with Vessels at anchor on a Gala Day. Pencil, and 
 
 Indian ink washed. 
 
 H. 71 in. W. i 3 £ in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 802. Fishing Boats in a Gale of Wind. Pen and ink. 
 
 H. 7? in. W. io\ in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 803. A Calm, with Vessels at anchor. Pen and ink. 
 
 H. zl in. W. 4 £ in. 
 
 ♦WILLIAM VAN DE VELDE, Jun. 
 
 804. A Calm. Pen and ink washed. 
 
 H. 8| in. W. 9 in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 805. A Dutch Man of War. Dated 1704. Pen and ink. 
 
 H. 4^ in. W. 8£ in. 
 
DUTCH SCHOOL. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 806. A Calm, with Boats. Pen and ink. 
 
 H. 7 J in. W. iifin. 
 
 ♦WILLIAM VAN DE VELDE, Jun. 
 
 807. The Dutch Fleet at anchor off the Coast of Holland. Pencil, 
 
 washed. 
 
 H. 8 in. W. I9f in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 808. The Dutch Fleet at anchor. At the corner is written, ' The 
 
 States' Fleet, 12th May, 1665.' Indian ink washed. 
 
 H. in. W. 2i| in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 809. The Dutch Fleet at anchor. Pencil and Indian ink. 
 
 H. 7| in. W. i6i in. 
 
 Ex Collection Sir James Thornhill. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 810. Another View of the same. Pencil and Indian ink. 
 
 H. 8 in. W. 23! in. 
 
 Ex Collection Sir James Thornhill. 
 
 WILLIAM VAN DE VELDE, Jun. 
 
 811. Vessels in a Calm off the Coast of Holland. In the fore- 
 
 ground a boat filled with figures rowing. Signed with 
 artist's initials, ' W. V. V. Jr.' Indian ink. 
 
 H. 5f in. W. 15! in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 812. The Entrance to a Harbour. Low water. Indian ink, 
 
 washed. 
 
 H. 6£ in. W. 16 in. 
 
i6 4 
 
 DUTCH SCHOOL. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 813. Boats in a Breeze at the Mouth of a Harbour. Pen and ink. 
 
 H. 5f in. W. 9£ in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 814. Entrance to a Harbour. Pencil, and ink washed. 
 
 H. 6£ in. W. 16 in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 815. A Dutch Man of War beating to windward. Pen and ink 
 
 washed. 
 
 H. 8$ in. W. 12J in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 816. A Shipwreck. Pen and ink. 
 
 H. 8£ in. W. ipf in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 817. A Shipwreck. Two sketches, pen and Indian ink. Signed, 
 
 and dated 1704, with a description in old Dutch. 
 H. 4f in. W. 7| in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 818. Vessels at anchor saluting the Royal Yacht. Pen and ink. 
 
 H. 7 in. W. 9! in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 819. A Ship of War at anchor. Pen and ink. 
 
 H. 4 | in. W. 8| in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 820. A stiff Breeze, with vessels, and hills in the distance. Pen 
 
 and ink. 
 
 H. 5f in. W. 9 in. 
 
DUTCH SCHOOL. 
 
 165 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 821. Vessels sailing. In the distance a Dutch town. Indian ink 
 
 zvashed. 
 
 H. in. W. i\\ in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 822. A Study of the Hull of a Man of War. Pen and ink, with 
 
 notes of size, &c. in Dutch. 
 
 H. in. W. 12\ in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 823. Vessels at anchor in a Calm. Pen, and Indian ink washed. 
 
 H. 5fin. W. n| in. 
 
 * WILLIAM VAN DE VELDE, Jun. 
 
 824. Fishing Boats, with men walking on shore. Indian ink 
 
 washed. 
 
 H. 5£ in. W. 9f in. 
 
 JOHN HACKAERT. 
 Nat. Amsterdam. Ob. 1635. 
 
 825. An upright Landscape. In the foreground two mules, on 
 
 one of which a woman is riding ; beyond are two men 
 and a mountainous distance. Pen, washed with Indian ink 
 and bistre. 
 
 H. 7£ in. W. 6| in. 
 
 JOHN HACKAERT. 
 
 826. A Landscape with a River flowing through it ; to the left are 
 
 two figures preceded by a dog, in the background a man 
 with two asses laden. Signed with the monogram of the 
 artist, and dated 1670. Pen and sepia, washed with Indian 
 ink. 
 
 H. 5| in. W. 8| in. 
 
1 66 
 
 DUTCH SCHOOL. 
 
 *JOHN HACKAERT. 
 
 827. A Landscape with cattle crossing a river. A man on horse- 
 
 back giving instructions to shepherds descending the bank, 
 in the middle distance a shepherd with his dog stands on 
 the foreground. Pen and Indian ink washed. 
 
 H. 9| in. W. 14* in. 
 
 JAN VAN HAGEN. 
 Nat. the Hague, 1635. Ob. 1679. 
 
 828. A Woody Landscape, with a river in the foreground. Pen, 
 
 washed with Indian ink. 
 
 H. 7£ in. W. 12 in. 
 
 JAN VAN HAGEN. 
 
 829. A Landscape. In the foreground a traveller reclining ; be- 
 
 hind him are three large trees; to the right a cottage 
 and a wooden fence ; to the left a road skirted by trees. 
 Black chalk, washed with Indian ink, heightened with white 
 on a grey ground. 
 
 H. 9 in. W. 1 if in. 
 
 JAN VAN HAGEN. 
 
 830. A Study of Oak-trees in the forest. Black 'chalk, washed with 
 
 Indian ink, on grey paper. 
 
 H. 15 \ in. W. 20 in. 
 
 JAN VAN HAGEN. 
 
 831. A Forest Scene. Black chalk, and Indian ink washed. 
 
 H. 16 in. W. 2\\ in. 
 
 Ex Collection Charles Rogers. 
 
DUTCH SCHOOL. 
 
 67 
 
 *JAN VAN HAGEN. 
 
 832. A Village on the Banks of a River. In the foreground is a 
 
 boat with a washboard, in which are two men, one of whom 
 is seated in the stern, while the other is pushing off. On 
 the shore, a man is washing a couple of pods or baskets. 
 In the middle distance, a wooden bridge crosses the 
 stream to a village ; boats are on the river both above and 
 below the bridge, and over the latter four men are passing, 
 one of them on horseback. Black chalk, and Indian 
 ink washed on blue paper. 
 
 H. 13I in. W. 20 in. 
 
 Ex Collection William Esdaile. 
 
 JAN STEEN. 
 Nat. 1636. Ob. 1689. 
 
 833. A Peasant seated in a chair, laughing. Black chalk, height- 
 
 ened with white on a grey ground. 
 
 H. 11 in. W. 8fin. 
 
 JACOB RUYSDAEL. 
 Nat. 1636. Ob. 1681. 
 
 834. A View in Holland. With cottages. On the banks of a canal, 
 
 three boats with figures are seen on the river, in the fore- 
 ground a man fishing. On the reverse a sketch of a town. 
 Slightly tinted with colour. 
 
 H. 4 in. W. 7| in. 
 
 JACOB RUYSDAEL. 
 
 835. A Landscape, with a cottage on the summit of a rock, with a 
 
 tree overhanging a waterfall. In the middle distance are 
 other trees and a bank, with hills in the distance. Black 
 chalk, and Indian ink. 
 
 H. 6 in. 
 
 W. 8 in. 
 
1 68 
 
 DUTCH SCHOOL. 
 
 JACOB RUYSDAEL. 
 
 836. A Landscape. In the foreground is a row of trees bordering 
 
 a meadow ; to the left a row of pollards ; in the middle 
 distance flows a river with boats. Indian ink. 
 H. 6| in. W. \o\ in. 
 
 JACOB RUYSDAEL. 
 
 837. A Landscape. In the foreground a canal, on which are 
 
 two barges ; by the side of it are four trees, and in the 
 middle distance a row of pollards. Indian ink. 
 
 H. Si in. W. io\ in. 
 
 JACOB RUYSDAEL. 
 
 838. A Study of Oak Trees. Black chalk, washed with Indian ink, 
 
 heightened with white on gray paper, 
 
 H. 10^ in. W. 13^ in. 
 
 JACOB RUYSDAEL. 
 
 839: Ruins of an old Building, overgrown with trees. Black chalk, 
 heightened with white. 
 
 H. \\\ in. W. 15$ in. 
 
 Ex Collection Lord Spencer and William Esdaile. 
 
 MELCHIOR HONDECOETER. 
 
 Nat. 1636. Ob. 1695. 
 
 840. A Scene in a Park. Close to the wall of a palace is a group 
 of domestic and other poultry ; an old hen with a brood of 
 chickens alarmed at the near approach of a peacock ; a 
 game-cock volunteers to protect his dame, and is on the 
 point of attacking the peacock, who seems prepared for the 
 encounter. Indian ink and colours. 
 
 H. 9^ in. W. 13^ in. 
 
DUTCH SCHOOL. 
 
 169 
 
 PETER MOLYN (called Cavaliere Tempesta). 
 Nat. Haerlem, 1637. Ob. 1701. 
 
 841. A Landscape; the entrance to a village, a woman seated at 
 
 the road-side, with a man walking towards the cottage ; in 
 the middle distance a shepherd with sheep. Signed and 
 dated 1655. Black chalk, washed with Indian ink. 
 
 H. Sf in. W. 7 \ in. 
 
 JOHN VAN DER HEYDEN. 
 Nat. 1637. Ob. 1 7 12. 
 
 842. The entrance to a Town in Holland, representing a house 
 
 built over a canal ; a female with a child in her arms carry- 
 ing a pitcher. Water colours. 
 
 H. \\\ in. W. 154 in. 
 
 *JOHN VAN DER HEYDEN. 
 
 843. A Chateau on the Banks of the river near Dort. In colours. 
 
 H. 8| in. W. 13 in. 
 
 *JOHN VAN DER HEYDEN. 
 
 844. Diakonie Huys, the Orphan Asylum, Amsterdam. In colours. 
 
 H. 9$ in. W. i3|in. 
 
 WILLIAM DE HEUSCH. 
 Nat. 1638. Ob. . 
 
 845. A Woody Landscape, and figures. In the foreground a man 
 
 sitting on the trunk of a fallen tree, conversing with 
 a woman with a basket on her head. Pen and bistre, 
 washed with Indian ink. 
 
 H. \\\ in. W. 15I in. 
 
1 70 D UTCH SCHO OL . 
 
 GASPARD NETSCHER. 
 Nat. 1639. Ob. 1684. 
 
 846. Study for Two Portraits. A lady seated under a tree; a 
 
 gentleman, returned from shooting, with his dogs by his 
 side, holds in his hand a dead bird, which he is showing 
 to the lady. In the background a mansion. Indian ink. 
 
 H. 12^ in. W. 9^ in. 
 
 ADRIAN VAN DE VELDE. 
 Nat. 1639. Ob. 1672. 
 
 847. An Allegory. A male and female seated near a fountain. 
 
 Dated at back. Fine pen and umber. 
 
 H. 7| in. W. 5£ in. 
 
 * ADRIAN VAN DE VELDE. 
 
 848. Study of a Cow. Red chalk. 
 
 H. 2f in. W. 3£ in. 
 
 * ADRIAN VAN DE VELDE. 
 
 849. Study of a Steer. Red chalk. 
 
 H. 3f in. W. 5f in. 
 
 * ADRIAN VAN DE VELDE. 
 
 850. Study of a Horse harnessed to the Shaft of a Cart. On the 
 
 right of it are the initials 'A. V. V.' Red chalk. 
 
 H. 3 Jin. W. 5 J in. 
 
 * ADRIAN VAN DE VELDE. 
 851. A Woman milking a cow. Red chalk. 
 
DUTCH SCHOOL. 
 
 7 
 
 * ADRIAN VAN DE VELDE. 
 
 852. A Landscape, with Sheep and Cattle. In a stream and on 
 its banks is a group of cows and sheep, and a man asleep, 
 resting his head upon the lap of a woman. A ford leads 
 across the river to a road by the side of a water-mill, under 
 the ruins of an old castle. The millers are at work, and 
 the distance is composed of hills and trees. On the 
 reverse a sketch in black lead of peasants and cattle. Pen, 
 Indian ink washed. 
 
 H. 6£ in. W. 8£ in. 
 Ex Collection Ploos Van Amstel. 
 
 ADRIAN VAN DE VELDE. 
 
 853. A Study of a Woman milking. Red chalk. 
 
 H. 5f in. W. 4.I in. 
 
 ADRIAN VAN DE VELDE. 
 
 854. A Study of two Cows. Red chalk. 
 
 H. 3f in. W. 4f in. 
 
 Ex Collections Lord Spencer and Thomas Dimsdale. 
 
 ADRIAN VAN DE VELDE. 
 
 855. A Study of a Cart Horse harnessed. Red chalk. 
 
 H. 3f in. W. 5f in. 
 
 ADRIAN VAN DE VELDE. 
 
 856. A Woody Landscape. Black chalk and Indian ink. 
 
 H. 5f in. W. 7l in. 
 
 ADRIAN VAN DE VELDE. 
 
 857. Study of Cows, and Heads and Parts of other Cows. 
 
 Coloured chalk, slightly tinted. 
 
 H. 8| in. 
 
 W. 1 if in. 
 
172 
 
 DUTCH SCHOOL. 
 
 ADRIAN VAN DE VELDE. 
 
 858. A Landscape. In the foreground cattle and sheep crossing 
 
 a rivulet, from which a horse with a man on his back is 
 drinking, and near a man driving sheep ; in the centre a 
 group of trees. Dated and signed 'A. V. V. 1656.' Indian 
 ink. 
 
 H. S| in. W. S\ in. 
 
 ADRIAN VAN DE VELDE. 
 
 859. A Study of Trees. In the foreground a man seated on the 
 
 trunk of one, which is lying on the ground. Pen, sepia, 
 and Indian ink. 
 
 H. I2| in. W. i6f in. 
 
 KAREL DU JARDIN. 
 Nat. 1640. Ob. 1678. 
 
 860. A Landscape. In the foreground three men are dragging a 
 
 net to land ; to the left a man and a boy driving two cows 
 and goats to the river, on the right bank of which stands a 
 castle, and in the distance are lofty mountains. Signed 
 'K. du Jardin feet. 1657.' Pen, washed with Indian ink. 
 H. 4 in. W. 84- in. 
 
 JOHN PETER VAN SLINGELANDT. 
 
 Nat. 1640. Ob. 1 69 1. 
 
 861. A Miniature Portrait of a Young Lady, with her Hair in 
 
 Ringlets, and wearing a Necklace and Neckerchief. On 
 vellum. Crayon, slightly tinted with colour. 
 
 H. 4i in. W. 3f in 
 
 Ex Collection Baron Van Gole. 
 
 JOHN PETER VAN SLINGELANDT. 
 
 862. A Miniature Portrait of a Young Lady, with a black Head- 
 
 dress. On vellum. In colours. 
 
 H. 4% in. W. l\ in. 
 
DUTCH SCHOOL. 
 
 73 
 
 * JACQUES TOORNVLIET. 
 
 Nat. 164 1. Ob. 17 19. 
 
 863. A Girl with a Bird in a Cage. At the left upper part of 
 
 the drawing the artist has signed his name, 'J. Toorn- 
 vliet fe.' Black and red chalk. 
 
 H. 6 in. W. 4 in. 
 
 * J. VAN N1CKELE. 
 
 864. Interior of the Old Church, Amsterdam. On a buttress in 
 
 the church the artist has written his name, 'J. V. 
 Nickele Pinxt,' with the date 1670. In colours. 
 H. i8f in. W. 13 \ in. 
 
 *A. VAN BORSUM. 
 
 865. A Chateau surrounded by Ruins. On the right corner the 
 
 artist has signed his name, ' A. Borsum.' Pen and bistre, 
 faintly washed with colour. 
 
 H. 8| in. W. 13J in. 
 
 PETER DE HOOGE. 
 
 Nat. circa 1643. Ob. . 
 
 866. The Interior of an Old Dutch House, with three entrances : 
 
 one leading to the bedrooms, another to a spiral staircase, 
 and over the door of the third is a tablet with the letters 
 4 P A. V R/ Pen, bistre, and Indian ink. 
 
 H. 7f in. W. iof in. 
 
 ALBERT FLAMEN. 
 
 Flourished circa 1670. 
 
 867. A Pool of Water, interspersed with bulrushes and nume- 
 
 rous water-fowl. Signed by the artist. Indian ink and 
 colours. 
 
 H. 5 in. W. 8| in. 
 
174 
 
 DUTCH SCHOOL. 
 
 ALBERT FLAMEN. 
 
 868. A Pool of Water, surrounded with Bulrushes. In the fore- 
 
 ground are two large water-fowl and four young ones; 
 above them three others are flying. Signed 4 A. B. 
 Flamen ft.' Indian ink and colours. 
 
 A companion to the foregoing drawing. 
 
 DIRK VAN BERGEN. 
 Nat. 1645. Ob- l6 ^9. 
 
 869. A Landscape, with cattle fording a stream. In the back- 
 
 ground a herdsman. Indian ink on vellum. 
 H. 6§ in. W. 8f in. 
 
 DIRK VAN BERGEN. 
 
 870. A Landscape. In the centre a large tree overshadowing a 
 
 well, around which repose a group of cattle, sheep, 
 goats, and a mule heavily laden; by the side of the well 
 a shepherd and shepherdess are reclining ; in the distance 
 are mountains. Signed ' D. v. Bergen.' Indian ink on 
 vellum. 
 
 H. 8£in. W.i if in. 
 
 Ex Collection Baron Van Gole. 
 
 » 
 
 DIRK VAN BERGEN. 
 
 871. A Landscape. In the foreground an ox surrounded by 
 
 sheep, &c. ; in the middle distance two figures under a 
 tree ; beyond, other cattle. Indian ink washed. 
 H. 1 \\ in. W. 9% in. 
 
 *A. HEUGTENBURGH. 
 
 Nat. 1646. Ob. 1733. 
 
 872. Butterflies and Moths. In colours on vellum. 
 
 H. -]% in. W. 9^ in. 
 
DUTCH SCHOOL. 
 
 *75 
 
 *J. DOOMER. 
 
 Nat. 1647. Ob. . 
 
 873. Landscape, with a Canal and Mill, near Amsterdam. On a 
 
 boat in the foreground at the left the artist has signed his 
 initials ' J. D.' In colours. 
 
 H. 5i in. W. 8f in. 
 
 *J. DOOMER. 
 
 874. A Road through a Valley. The road passes beside a corn- 
 
 field, on the right along which a woman is walking. A 
 man on, the opposite side has left the road, and walks on 
 a bank towards the left. On a hill in the middle distance 
 are a castle and ruins, and another hill over the man has a 
 church erected on its brow. Pen and bistre washed, and 
 slightly tinted. 
 
 H. 7f in, W. 1 \\ in. 
 
 *G. NEYTS. 
 Flourished 1681. 
 
 875. Two Landscapes. That on the left has a road passing over 
 
 a bridge, beyond which is a castle, and in the distance a 
 castle stands upon a high hill. Two horsemen and a 
 traveller on foot are in conversation on the road. The 
 drawing on the right represents a farmhouse, with a flight 
 of steps leading to the door, and at the side of the house a 
 water-mill. Various figures are introduced, and on the 
 bank is a man reclining on the ground. The artist has 
 signed both drawings at opposite sides. Pen and sepia 
 washed. 
 
 *JOHN LUYKEN. 
 
 Nat. 1649. Ob. . 
 
 876. Surrender of Jehoiachin, King of Judah, to Nebuchad- 
 nezzar. From the gate of Jerusalem an immense con- 
 course of soldiers on horse and foot are issuing, accom- 
 panied with waggons, camels, and elephants laden with 
 
7 6 
 
 DUTCH SCHOOL. 
 
 spoil. Tents and siege instruments are under the city 
 walls. In the foreground are the tents of the king of 
 Babylon, who is standing under an umbrella with Zede 
 kiah. He holds a sceptre towards Jehoiachin, on his 
 knees in chains, from whose head the attendants are re- 
 moving the crown. The mother of the king and princes 
 are being led away captive. Pen and sepia, washed with 
 Indian ink. 
 
 H. \o\ in. W- 14 in. 
 
 ABRAHAM STORCK. 
 Nat. 1650. Ob. 1708. 
 
 877. A Marine View, representing several English and Dutch 
 
 ships escorting King William III. to the shores of Eng- 
 land. Signed, and dated 1688. Pen, washed with bistre 
 and Indian ink. 
 
 H. 7i in. W.i if in, 
 
 FREREDIC MOUCHERON. 
 Nat. 1653. Ob. 1686. 
 
 878. A Landscape, in which a woman, boy, and dog are walk- 
 
 ing along a road. Towards the spectator, on the right, 
 a river bounded by high rocks. In the distance a moun- 
 tainous cave. Pen and sepia, washed with Indian ink. 
 H. 7 in. W. 1 if in. 
 
 Ex Collection Baron Van Cole. 
 
 JOHN STORCK. 
 
 Circa 1675. 
 
 879. View of a Seaport in the Levant, with shipping, buildings, 
 
 and figures. Indian ink and bistre. 
 
 H. 4 in. W. 6\ in. 
 
 JOHN STORCK. 
 
 880. A View near the mouth of the Rhine at Rotterdam j build- 
 
 ings, figures, &c. Pen and bistre, washed with Indian ink. 
 H. 3f in. W. 6£ in. 
 
DUTCH SCHOOL. 
 
 177 
 
 JOHN STORCK. 
 
 881. A Seaport on the Coast of Italy. To the left the Pope's 
 pleasure-yacht moored alongside the shore ; on the oppo- 
 site side are several vessels lying at anchor, and other 
 small craft. Pen, washed with Indian ink and bistre. 
 H. 7| in. W. i2| in. 
 
 JOHN STORCK. 
 
 882. A View in Amsterdam, with 1 de Haringh pakkers Tooren. 1 
 
 Dated, and signed 'J. Storck, 1678.' Pen, Indian ink, 
 and bistre. 
 
 H. 7J in. W. 12 in. 
 
 Ex Collections William Esdaile and John Macgowan. 
 
 JOHN STORCK. 
 
 883. A View on a Canal in Amsterdam, in the rear of the 
 
 Exchange. Dated and signed 'J. Storck, 1681.' Pen 
 
 washed with Indian ink and bistre. 
 
 H. 7f in. W. \2\ in. 
 Ex Collections William Esdaile and John Macgowan- 
 A companion to the above. 
 
 *JOHN STORCK. 
 
 884. A Seaport. At the end of a quay, upon which is an old, 
 
 richly sculptured arch, rides a large ship, with a fine 
 curved stern high out of the water, her fore and fore-top- 
 sails and mainsails hanging in brails ; beyond her, two 
 similar ships are sailing out of harbour. On the left are 
 fortifications, and the highest of these approached by a 
 flight of steps. Several men are at work upon the boats 
 rowing about or made fast, and on the foreground of the 
 quay is an man with an ass and panniers. Pen and bistre, 
 and Indian ink washed. 
 
 H. 7f in. W. I2| in. 
 
 N 
 
1 7 8 
 
 DUTCH SCHOOL. 
 
 *JOHN STORCK. 
 
 885. A Seaport. On the landing-place are assembled several 
 
 groups of figures variously occupied, and on a pedestal is a 
 statue. A church stands at the side of the quay. On the 
 water boats are seen approaching and departing from the 
 stairs. Behind one of these boats a ship is sailing, and 
 slightly bending to the wind, with a pennant flying under 
 Dutch colours. Pen and bistre, and India?i ink washed. 
 H. 4 in. W. 6\ in. 
 
 * J. F. BLOEMAN (detto Orizonte). 
 
 Nat. 1656. Ob. . 
 
 886. A Landscape, with a bridge and viaduct in the middle 
 
 distance. On the back of the drawing a sketch of a 
 building in Indian ink, heightened with white. Pen and 
 Indian ink washed. 
 
 H. 6£ in. W. 9I in. 
 
 * DIRK MAAS. 
 Nat. 1656. Ob. . 
 
 887. A Landscape, with a statue under some trees, buildings in 
 . the distance. In the middle ground are two huntsmen, 
 
 and in the foreground a sportsman with a dog. Indian 
 ink washed. 
 
 H. 5I in. W. %\ in. 
 ♦JACOB DE HEUSCH. 
 
 Nat. 1657. Ob. 1701. 
 
 888. Landscape on the Banks of a River, with Ferry-boat. On 
 
 the bank to the left is seen a flight of steps, with some 
 men at work in a well. Slightly tinted. 
 
 H. 81 in. W. 14^ in. 
 
 ADRIAN VAN DER WERF. 
 Nat. 1659. Ob. 1727, 
 
 889. Lot and his Daughters. Signed by the artist. Pen and 
 
 sepia, washed with Indian ink. 
 
 H. 9£ in. W. 8 in. 
 
DUTCH SCHOOL. 
 
 179 
 
 * ADRIAN YAN DER WERF. 
 
 890. Portrait of a Gentleman standing at an open Window lean- 
 
 ing on a pedestal. Indian ink washed. 
 
 H. 6| in. W. si in. 
 
 * ADRIAN VAN DER WERF. 
 
 891. Study of Drapery. Red chalk. 
 
 H. i6| in. W. 9i in. 
 
 * WILLIAM VITRINGA. 
 
 Flourished about 1690. 
 
 892. A Calm. A barge, with her sail hanging loosely at the mast, 
 
 is gliding with the tide down a river ; she tows a boat 
 attached to her stern, other vessels going in the same 
 direction are seen through the haze, and a man in a 
 reddish brown coat with a stick is watching them from the 
 foreground. Signed and dated 1699. In colours. 
 H. 5| in. W. 7 in. 
 Ex Collection William Esdaile. 
 
 * WILLIAM VITRINGA. 
 
 893. Vessels on the Scheldt. On the top of the drawing the Artist 
 
 has signed his name, W. Vitringa, and date 1703. Indian 
 ink washed. 
 
 H. Si in. W. 71 in. 
 
 WILLIAM VAN MIERIS. 
 Nat. 1662. Ob. 1747. 
 
 894. The Flight of Daedalus and his son Icarus from Crete. 
 
 Very highly finished, and signed t W. v. M.' Indian ink. 
 H. 4j in. W. 6\ in. 
 
 WILLIAM VAN MIERIS. 
 
 895. Apollo Slaying the Python. Signed with the initials of the 
 
 artist, and dated 1690. Indian ink. 
 
 H. 4| in. W. 6\ in. 
 
i8o 
 
 DUTCH SCHOOL. 
 
 * WILLIAM VAN MIERIS. 
 
 896. A Magdalen. Black chalk on vellum. 
 
 H. 51 in. W. 4^ in. 
 
 CORNELIUS DUSART. 
 
 Nat. 1665. Ob. 1704. 
 897. The Interior of a Cabaret, with numerous figures of men 
 and women carousing, drinking, smoking, singing, and 
 playing. Dated by the artist 1697. Pen, and umber 
 washed. 
 
 H. 8f in. W. 14* in. 
 
 Ex Collection Baron Vci7i Gole. 
 
 * CORNELIUS DUSART. 
 
 898. Two Studies upon separate pieces of vellum of a man and 
 woman. The woman's face is turned over her left shoulder, 
 holding in her right hand a square bottle, and in her left a 
 glass. The man holds his hat in his left hand, and a long 
 glass three parts filled in his right. Water colour. 
 H. 5 £ in. W. 4 f in. 
 Ex Collection Marquis Lagoy and William Esdaile. 
 
 * CORNELIUS DUSART. 
 
 899. The entrance to a village with a well and a church in the 
 distance. A woman is drawing water from the well, and 
 in the foreground a man, with a horn in his right hand, is 
 leaving a woman carrying a basket with vegetables under 
 her arm ; behind them a boy is playing with a dog, which 
 he holds by a long string ; on the opposite side near a 
 door is a man seated wearily with his face turned round, and 
 a jug in his hand ; on the right-hand corner of the drawing, 
 the artist has signed his name with the date 169 , but the 
 figure that should follow is cut away. In colours. 
 H. 1 1 i in. W. 15$ in. 
 
DUTCH SCHOOL. 
 
 181 
 
 JAN VAN DER MEER (called De Jonghe). 
 Nat. 1665. Ob. 1688. 
 
 900. A Landscape. In the foreground a group of sheep and 
 
 lambs reposing ; to the right two women and a little boy ; 
 in the background a wooded hill with buildings. Dated, 
 and signed ' J. v. der Meer de Jonghe, feet.' Indian ink. 
 H. Sf in. W. 8| in. 
 Ex Collection Baron Van Gole. 
 
 *JAN VAN DER MEER (called De Jonghe). 
 
 901. A Landscape with sheep and cattle. At the base of a rocky 
 
 landscape down which a path descends, a shepherd is 
 driving a herd of cattle and sheep, followed by a feeble 
 man and woman, behind them two asses with panniers are 
 travelling in an opposite direction. On the back of the 
 hindmost is a woman seated, attended by a man and dog, 
 and they are preceded by a man and boy. Buildings in 
 ruins are on each side of the descending pathway, and 
 beyond is a very high hill running down to the plain in the 
 distance on the bottom of the drawing ; in the centre the 
 artist has written his name, ' J. V. Der Meer, 1687.' 
 Black chalk, and Indian ink washed. 
 
 H. n| in. W. i6£in. 
 
 JAN VAN DER MEER (called De Jonghe). 
 
 902. A Landscape. In the foreground a river, on which are several 
 
 boats with figures, and at the waterside a group of men and 
 cattle waiting to be ferried over. On the opposite side of 
 the river some hilly scenery with mountains in the distance. 
 Signed and dated by the artist 1686. Indian ink. 
 H. 8| in. W. 13I in. 
 
 JAN VAN DER MEER (called De Jonghe). 
 
 903. A Landscape, with a flock of sheep and lambs reposing. 
 
 In the background a group of figures under some trees. 
 Signed. In colours. 
 
 H. 8f in. W.i 1 in. 
 
182 
 
 DUTCH SCHOOL. 
 
 JAN VAN VER MEER (called De Jonghe). 
 
 904. A Group of two sheep and two Lambs lying by their side. 
 In the background rises a mountain. In the foreground 
 the artist has signed his name and 1787. Black chalk, 
 washed with Indian ink. 
 
 H. 7| in. W. i 3 i in. 
 
 * JAN VAN DER MEER (called De Jonghe). 
 
 905. Peasants with sheep and goats. On the corner of the 
 drawing the artist has signed his name, 'J. Vder Meer de 
 Jonghe f.' In colours. 
 
 H. 8| in. W. 13 in. 
 
 ISAAC MOUCHERON. 
 
 Nat. 1670. Ob. 1744. 
 906. An upright Landscape, with waterfall in the foreground 
 running over rocks, and a man seated on the bank fishing ; 
 a woman stands by his side, mountains in the distance. 
 Signed by the artist. Water colours. 
 
 H. 7f in. W. 5£ in. 
 
 * ISAAC MOUCHERON. 
 
 907. A Pastoral landscape with a waterfall. Pen and wash, 
 slightly tinted. 
 
 H. 9| in. W. 7f in. 
 
 * ISAAC MOUCHERON. 
 
 908. A Landscape with a waterfall. In the centre of the view 
 beneath some buildings is seen a river which discharges 
 itself down a fall, between rocks, two men are seated upon 
 the ground contemplating the scene, behind them is a man 
 holding a net. Bistre, Indian i?ik washed. 
 
 H. 6f in. W. 8| in. 
 
DUTCH SCHOOL. 183 
 
 ISAAC MOUCHERON. 
 
 909. A Classical Landscape composition in the foreground, two 
 
 women seated are listening to a man, who is relating his ad- 
 ventures ; behind them is a pool of water, to which a flight 
 of steps leads, and upon a pedestal is a statue of one of 
 the river gods ; various architectural ruins are introduced, 
 and in the distance is seen a town approached by a bridge 
 with two arches ; mountains rise in the background, and in 
 the left of the view is an avenue of trees leading to the 
 water-edge, across which a man with a dog is about to 
 pass. Water colours. 
 
 H. in. W. 7f in. 
 
 ISAAC MOUCHERON. 
 
 910. An upright Landscape composition, with four classical figures 
 
 in the foreground ; a river passes across the view, on the 
 banks of which is a semicircular temple with an archway, 
 two figures are near the steps leading to the water ; on a 
 pedestal is a statue of a man supporting a female ; trees rise 
 gracefully in the foreground and middle distance, and in 
 the background are hills with Italian villas. Water colours. 
 H. njin. W. 8|in. 
 Ex Collection Ploos van Amstel. 
 
 ISAAC MOUCHERON. 
 
 911. A Landscape Composition. On a terrace in the foreground 
 is a woman seated under a fountain with two children 
 playing by her side ; behind them, is the group of John de 
 Bellini's 1 Rape of the Sabines.' A building stands behind 
 the terrace, the portico of which is supported by four 
 columns, and on the plain is a group of herdsmen with their 
 flock passing across ; behind them is a town with high hills 
 on the borders of a river, on which boats are rowing and 
 sailing in the distance, and on each side of the river are 
 groups of trees. Slightly tinted in water colours. 
 
 H. 8£ in. W. 5 in. 
 
i8 4 
 
 DUTCH SCHOOL. 
 
 * ISAAC MOUCHERON. 
 
 912. A Pastoral landscape with Shepherds and Sheep. In 
 
 colours. 
 
 H. 81 in. W. i2f in. 
 
 * ISAAC MOUCHERON. 
 
 913. A Landscape composition (Tivoli). The companion 
 drawing in colours, on the right of the drawing is written 
 4 Moucheron fecit.' 
 
 H. 9 in. W. i2| in. 
 
 ISAAC MOUCHERON. 
 
 914. A Landscape and Figures, with a bridge crossing a river. 
 
 Pen and sepia, washed with Indian ink. 
 
 H. 9^ in. W. 13 in. 
 
 ISAAC MOUCHERON. 
 
 915. A Classical Landscape with Italian Villa, in front of which is 
 a lake with a man pushing off a boat ; in the foreground, 
 a man is sitting on a stone at one end of a terrace, with a 
 dog running towards him ; on the right a statue holding a 
 vase from which water is flowing. Signed by the artist, 
 and dated the year of his death. Pen, washed with Indian 
 ink. 
 
 H. 7£ in. W. \o\ in. 
 
 * GERARD RADEMACHER. 
 Nat. 1672. Ob. 171 1. 
 916. View cn the Rhine. Bistre, washed. 
 
 H. 6\ in. W. 11 in. 
 
DUTCH SCHOOL. 
 
 85 
 
 * ABRAHAM RADEMACHER. 
 
 Nat. 1675. Ob. 1735. 
 
 917. A Landscape Composition. Two pilgrims walking along 
 
 a road leading over a wooden bridge to a monastic build- 
 ing ascended by a flight of steps ; on the left a square rock 
 rises perpendicularly from the banks ; behind the bridge 
 other rocks rise somewhat similarly, but between the second 
 and third the ground descends to a ferry. The river 
 stretches to the horizon with hills on each side, and various 
 figures are introduced in the landscape. Pen and sepia, 
 and Indian ink washed. 
 
 H. 7 in. W. 1 1 in. 
 Ex Collection Count de Fries. 
 
 * ABRAHAM RADEMACHER. 
 
 918. An open and extensive Landscape. A river winding 
 
 through the centre of the view towards the sea. Pen 
 and Indian ink washed. 
 
 H. 6£ in. W. 9I in. 
 
 * ABRAHAM RADEMACHER. 
 
 919. Boats sailing upon a River - buildings are on each side of 
 
 the banks, and in the extreme distance the spires of a 
 church. Pen and sepia washed. 
 
 * H. 4J in. W. 6| in. 
 
 Ex Collection Benjamin West. 
 
 JAN VAN HUYSUM. 
 Nat. 1682. Ob. 1749. 
 
 920. A Group of Flowers in a Vase on a pedestal, upon which 
 
 several flowers have fallen ; on the vase, in bas-relief, is the 
 4 Rape of Dejanira.' Pen and bistre. 
 
 H. 7^ in. W. 6\ in. 
 
i86 
 
 DUTCH SCHOOL. 
 
 JAN VAN HUYSUM. 
 
 921. Study for a Group of Fruit and Flowers. On the vase, in 
 
 bas-relief, is a group of boys ; on the pedestal which sup- 
 ports the vase is a large snail. Pen and Indian ink. 
 H. in. W. 1 \\ in. 
 
 JAN VAN HUYSUM. 
 
 922. A Group of Flowers in an ornamental Vase resting on a 
 
 pedestal, whereon lies a bird's nest with eggs. On the vase 
 are represented two boys in bas-relief. Red chalk, bistre, 
 and Indian ink. 
 
 EL 1 51 in. W. 12$ in. 
 
 JAN VAN HUYSUM. 
 
 • 
 
 923. A Vase standing on a Pedestal, containing a group of flowers, 
 
 upon which several have fallen. Signed by the artist. 
 Water colours. 
 
 H. 15^ in. W. \i\ in. 
 
 * JAN VAN HUYSUM. 
 
 924. A Landscape with a Bridge. On the margin of the drawing 
 
 the artist has signed his name, ' Jan Van Huysum,' and the 
 date '1706.' Red chalk. 
 
 H. 9f in. W. 8 in. 
 
 *JAN BEERSTRAATEN. 
 
 925. A Chateau at Amsterdam. The building is surrounded by 
 
 water, and the entrance to it is by a drawbridge. Black 
 lead and Indian ink, washed. 
 
 H. 7| in. W. \2\ in. 
 
 The house is still in existence. 
 
DUTCH SCHOOL. 
 
 ,87 
 
 ♦JACOB DE WIT. 
 Nat. 1695. Ob. some time after 1774. 
 
 926. A Group of Three Children. They are represented with 
 
 wings, flying in the air, the centre figure carrying flowers, 
 and more highly finished than the others. In colours. 
 
 H. 51 in. W. 6| in. 
 
 CORNELIUS TROOST (called the Dutch Hogarth). 
 
 Nat. 1697. Ob; 1750. 
 
 927. St. Nicholas' Day in the Morning. A woman with boy cry- 
 
 ing ; a study for the two figures in the picture of the Fete 
 of St. Nicholas. Indian ink, slightly tinted with colour, a?td 
 heightened with white. 
 
 H. 15^ in. W. 9-! in. 
 
 *J. ANTONISSEN (Master of Ommeganck). 
 
 928. A Hilly Landscape, with a river winding through the centre 
 
 of the drawing to some hills in the middle distance ; seen 
 through the trees towards the left is a farm-house, near 
 which, and by the side of the river, is a woman resting on 
 a stile ; a man and a boy on foot, with a woman on a 
 donkey, are driving cattle across the water towards the 
 spectator. Reeds, &c, fill up the foreground. Water 
 colours. 
 
 H. n£ in. W. 15 J in. 
 
 * JACOB CATS. 
 Flourished circa 1773. 
 
 929. Landscape. In the foreground a cottage with two women 
 
 hanging out linen on a grass plat, in the rear of which are 
 several large trees ; to the left, a river on which is a boat 
 
DUTCH SCHOOL. 
 
 with a man and woman. On the river bank is a cottage 
 surrounded by trees, and a horse towing a barge. Signed 
 and dated 1773. Pen, sepia, and Indian ink. 
 
 H. 6{ in. W. 8f in. 
 
 * JACOB CATS. 
 
 930. A Landscape. In the foreground is a man conversing with 
 
 milk-maid carrying a yoke and pails, close by a man is 
 leading a horse through a gateway, further on a man driv- 
 ing some pigs, in the rear a drawbridge. Signed at the 
 back ' J. Cats invt. 1773.' P en -> sepia, and Indian ink. 
 
 H. 6| in. W. 8| in. 
 JACOB CATS. 
 
 931. A Farm near Haarlem. In an inclosure is a woman milk- 
 
 ing, on the right is a farm-building, from which a man is 
 approaching, in the foreground three other figures Cows 
 are seen in the distance, behind them a windmill. Dated 
 1784. Bistre, washed. 
 
 H. 1 1\ in. W. i3lin. 
 
 * JACOB CATS. 
 
 932. A Herdsman with Sheep and Cattle. He is seated on a 
 
 bank, with his dog, by the roadside under two trees, and 
 behind him runs a stream of water in which part of his flock 
 are standing, others are reclining on a bank beyond, and 
 one sheep is grazing at the edge of a path ; before him a 
 cottage, by the side of the road, over the other side is a 
 ruined building with two arches. Signed and dated at 
 the back 'J. Cats inv. et fecit, 1767.' Pen and bistre 
 washed with Indian ink. 
 
 H. 6 in. 
 
 W. 8 in. 
 
DUTCH SCHOOL. 
 
 * JACOB CATS. 
 
 933. View near Haarlem. A man, seated on a bank by the road- 
 
 side, appears to have inquired his way of a woman, who 
 with a child on her left arm is directing him. A dog with 
 his back towards her is on the ground, and a traveller a 
 short distance onward seems watching the group. The road 
 leads to the outskirts of a village, and a flock of sheep is 
 coming towards the spectator. Dated December 1782. 
 Sepia washed. 
 
 H. 9| in. W. \$\ in. 
 
 * EGBERT VAN DILST. 
 Nat. 1746. Ob. 18 18. 
 
 934. A Ferry-Boat. Indian ink, washed with a little bistre. 
 
 H. n| in. W. 17^ in. 
 
 *H. KOBELL. 
 
 935. The Banks of a Dutch Canal. On the left of the view stands 
 
 a boat -builder's shed ; a barge, with a ladder at the bow, is 
 drawn upon the bank ; she has a small boat hanging at 
 her stern, and near to her a Hatch boat ; ducks are 
 swimming on the water, and a ferry-boat at the right cor- 
 ner is at anchor ; trees in the centre overhang the water, 
 and in the distance a windmill and two boats, one with a 
 large sail. Indian ink, washed. 
 
 H. 7 in. W. 9£ in. 
 *H. KOBELL. 
 
 936. The Ferry-Boat. A ferry-boat is crossing a navigable river 
 
 loaded with cattle and goats; on the bank is a herdsman 
 with other cattle waiting. In the distance are some ships 
 saluting. Signed and dated 1773. Pen and bistre, and 
 Indian ink, washed. 
 
 H. 4£ in. W. 6\ in. 
 
190 
 
 DUTCH SCHOOL. 
 
 * H. KOBELL. 
 
 937. A Brisk Gale. At the entrance to a harbour are seen a 
 
 sloop and a Dutch man-of-war ; the colours of the latter 
 flying at the fore-topmast-head, and from a staff at her 
 stern ; the sloop, with her main and foresail set, is going 
 out of the harbour, while a similar vessel is running in, 
 eased off for the moment to let a rowing-boat come along- 
 side ; other vessels are sailing in the distance ; the sea is 
 rough, and on the left side of the drawing the artist has 
 written his name, ' Kobell,' with the date ' 1776.' Pen and 
 bistre, washed with Indian ink. 
 
 H. 4f in. W. 6£ in. 
 
 Ex Collection William Esdaile. 
 
 *H. KOBELL. 
 
 938. Dutch Ships in a fresh Breeze. Pen and bistre, washed with 
 
 Indian ink. 
 
 H. z\ in. W. 4i in. 
 
 * H. KOBELL. 
 
 939. Dutch Vessels in a fresh Breeze. On the right a landing- 
 place. Pen and bistre, washed with Indian ink. 
 
 H. 6 in. W. 8 in. 
 
 * H. KOBELL. 
 
 940. A Breeze. A Dutch ship, with her topsails partly loosed 
 and her ensign displayed, is riding at anchor, saluted by 
 other ships on the right and ahead of her. In the fore- 
 ground is a barge sailing away from the spectator, and on 
 the left is a boat with two men, one of whom holds on by 
 a boat-hook, while the other sets the sail. Indian ink, 
 washed. 
 
 H. 8£ in. W. ill in. 
 
 Ex Collection F. H. 
 
DUTCH SCHOOL. 
 
 191 
 
 B. P. OMMEGANCK. 
 
 Nat. 1755. Ob. . 
 
 941. A Landscape, with cattle and figures at a fountain. In 
 the distance are cows fording a stream, with a village 
 at the foot of some hills. Signed, ' B. P. Ommeganck 
 ft.' Pen and bistre, heightened with white. 
 
 H. 22f in. W. I7f in. 
 
 *B. P. OMMEGANCK. 
 
 942. A Landscape Composition. Signed by the artist and dated 
 1789. Black chalk and sepia wash, heightened with white, 
 on brown paper. 
 
 H. 14 in. W. 20 in. 
 
 B. P. OMMEGANCK. 
 
 943. A Landscape, with Shepherd and Shepherdess driving cattle, 
 sheep, and goats across a stream. Indian ink, heightened 
 with white, 
 
 H. iof in. W. 14I in. 
 
 JAN VAN STRY. 
 Nat. 1756. Ob. 1815. 
 944. Drawing of a Cow reposing on a Bank. Black chalk. 
 H. 7f in. W. 1 if in. 
 
 JAN VAN STRY. 
 
 945. A River View, with cattle in a stream and a herdsman. 
 On the bank is a group of trees, with a building, and in 
 the distance, boats drifting down the stream, with the 
 effect of sunset. Bistre wash. 
 
 H. 61 in. W. 8| in. 
 
192 
 
 DUTCH SCHOOL. 
 
 JAN VAN STRY. 
 
 946. A Landscape. A group of three cows lying on the banks 
 of a river; near them sits a cowherd, with his dog lying 
 beside him. Pen, bistre a?id slightly tinted. 
 
 H. \\ in. W. 10 in. 
 
 JAN VAN STRY. 
 
 947. A Landscape. On a bank in the foreground a group of 
 
 four cows, and a man and woman in conversation under 
 a tree ; to the left two cows are standing in a river drink- 
 ing ; in the distance a windmill and cottages. Bistre and 
 Indiati ink. 
 
 H. 8£ in. W. i6£ in. 
 
 *JAN VAN STRY. 
 
 948. A Gossip by the Wayside. Signed by the artist. In colours. 
 
 H. 10 in. W. 8£ in. 
 
 *JAN VAN STRY. 
 
 949. Shepherd with Sheep and Cattle. Signed by the artist. In 
 
 colours. 
 
 H. 8* in. W. 12 in. 
 
 *JAN VAN STRY. 
 
 950. View near Antwerp. Travellers resting by the wayside. In 
 
 colours. 
 
 H. 1 1| in. W. 144 in. 
 
 *JAN VAN STRY. 
 951. A Herdsman with Cattle. In colours. 
 
 H. 8J in. W. 12J in. 
 
DUTCH SCHOOL. 
 
 *93 
 
 *J. H. PRINS. 
 Nat. 1758. Ob. 1805. 
 
 952. A View of the Wood-garden at the ' Kettlepoort,' or Ketle- 
 
 gate, Delft. In the foreground is a canal, across which is 
 a drawbridge, on which sit a beggar and dog, and over it 
 a man is wheeling a barrow with trunks. In the fore- 
 ground a woman with a basket and pitcher, at her side a 
 little girl, in the distance the river. Signed 'J. H. Prins, 
 1782.' Water colours . 
 
 H. 7^ in. W. 8f in. 
 
 J. KOBEL. 
 
 953. A View of the Sea-walls of Schevening, with numerous 
 
 figures on the sea-shore waiting the arrival of the herring- 
 boats. Signed ' J. Kobel.' Indian ink. 
 
 H. in. W. I5f in. 
 
 *J. KOBEL. 
 
 954. A Landscape. In the foreground are three cows, and beside 
 
 a pollard a man is seen holding a bull by a chain. In the 
 distance a river, with boats. Signed 'J. Kobel, 1834.' 
 Black chalk, washed with Indian ink. 
 
 H. i\\ in. „W. 14 in. 
 
 *J. KOBEL. 
 
 955. A Bull with a Goad on its neck. Black chalk. 
 
 H. 12 J in. W. I5fin. 
 
 o 
 
194 
 
 ENGLISH SCHOOL. 
 
 FRANCESCO ZUCCHERELLI. 
 Nat. 1702. Ob. 1788. 
 
 956. A Landscape. In the foreground a man fishing, with two 
 
 females at his side, to the right cattle and goats are grazing, 
 tended by a shepherd and shepherdess ; in the background 
 are trees and houses. Indian ink, heightened with white. 
 H. \o\ in. W. 16J in. 
 Ex Collection William Esdaile. 
 
 * FRANCESCO ZUCCHERELLI. 
 
 957. The Crypt of a Cathedral. The drawing appears to be a 
 
 view from nature, and is divided with a lead-pencil line, as 
 if the artist intended to use only half the subject for the 
 particular purpose for which he drew it. On the back is a 
 study of two men, also from nature. Pen and Indian ink, 
 washed. 
 
 H. 8 in. W. 11^ in. 
 
 * FRANCESCO ZUCCHERELLI. 
 
 958. A Landscape Composition. In the foreground two mendi- 
 
 cants, man and woman, are asking alms from a female on 
 horseback ; in the middle distance, a bridge with men fish- 
 ing, and behind them hills, with buildings. Pen and bistre, 
 washed with Indian ink. 
 
 H. I2f in. W. 19 in. 
 
ENGLISH SCHOOL. 
 
 '95 
 
 GIOVANNI BATISTA CIPRIANI. 
 Nat. 1728. Ob. 1785. 
 
 959. An Allegorical Composition, with circular centre. Indian 
 
 ink, on blue paper. 
 
 H. iof in. W. i6£ in. 
 Ex Collection Edward Perks. 
 
 * GIOVANNI BATISTA CIPRIANI. 
 
 960. Cupid and Psyche Pen, and bistre washed. 
 
 Diameter 6 in. 
 
 * GIOVANNI BATISTA CIPRIANI. 
 
 961. The Morning Star, an Allegory. In the centre, on some 
 
 clouds, a winged female is seated with two children on her 
 lap, and around her are various winged boys, with the em- 
 blems of Night and Morning. Oval. Red chalk, framed. 
 H. I4f in. W. i8| in. 
 
 * GIOVANNI BATISTA CIPRIANI. 
 
 962. Nymphs and Cupids Sporting. Black and red chalk. 
 
 H. 61 in. W. 15I in. 
 
 ANGELICA KAUFFMAN. 
 Nat. 1740. Ob. 1807. 
 
 963. Venus at her Toilette, with numerous attendants. Pen and 
 
 bistre washed, heightened with white. 
 
 H. 6f in. W. 12 in. 
 
 * ANGELICA KAUFFMAN. 
 
 964. Maria of Moulines. Engraved. Oval, Black and red 
 
 chalk, 
 
 H. 13 in. W. \o\ in. 
 
9 6 
 
 ENGLISH SCHOOL. 
 
 * ANGELICA KAUFFMAN. 
 
 965. Ariadne abandoned by Theseus on the Island of Naxos. 
 
 Engraved. Oval. Black and red chalk. 
 
 H. 12 in. W. g\ in. 
 
 * ANGELICA KAUFFMAN. 
 
 966. A Study for Angelina. Red chalk. 
 
 H. 10 in. W. i6£ in. 
 
 * ANGELICA KAUFFMAN. 
 
 967. A Study for an Allegorical subject, over the chimney in the 
 
 Library of Gudy House. Pen, and washed. 
 
 H. 4! in. W. 13 in. 
 
97 
 
 The following thirty-eight portraits by Ottavio Leoni were 
 purposely omitted from the examples of the artist's works in the 
 catalogue on account of their number, and are now introduced as 
 they form part of the collection, viz. — 
 
 Cardinal Camillo Borghese, 
 Cardinal Pietro Aldobrandino, 
 Cardinal Nicolo Monaldisco, 
 Cardinal Madinezzo, 
 Cardinal Leni, 
 Cardinal Caietano, 
 Cardinal Paranicino, 
 Cardinal Pallotta, 
 Cardinal Platti, 
 Cardinal Diatrichstain, &c, 
 
 and various other eminent personages, ladies and gentlemen of 
 the Court of Rome at the beginning of the seventeeth century, 
 making a total of one thousand and five drawings. 
 
INDEX OF MASTERS. 
 
 Abati, Nicolo del, 45 
 
 Albano, Francesco, 71 
 
 Aldegraever, Albrecht, 100 
 
 Allegri, Antonio detto II Coreggio, 41 
 
 Altorfer, Albrecht, 100 
 
 Angelico da Fiesole, 2 
 
 Antonissen, J., 187 
 
 Bagnacavallo, Bartolommeo Ramen- 
 
 ghi, 14 
 Bakhuizen, Ludolph, 158 
 Baldi, Lazaro, 37 
 Bandinelli, Baccio, 15 
 Barbbarelli, Giorgio detto Giorgione, 
 
 49 
 
 Barbieri, Gio. Francesco detto Guer- 
 
 cino da Cento, 74 
 Baroccio, Frederico, 26 
 Bartolommeo, Fra(Baccio della Porta), 
 
 6 
 
 Bassano, Jacopo da Ponte, 54 
 Bassano, Jacopo da Ponte, the younger, 
 57 
 
 Beerstraaten, Jan, 186 
 Beerstraten, 128 
 Bega, Cornelius, 147 
 Bella Della, 35 
 Bellini, Giovanni, 49 
 Beltraffio, Gio. Antonio, of Milan, 6 
 Berchem, Nicholas, 154 
 Berge, Van der, 144 
 Bergen, Dirk van der, 174 
 Bevilacqua Cav. Salimbeni, 31 
 Bibiena, Ferdinando Galli, 82 
 Biscaino, Bartolommeo, 81 
 Bloeman, J. F. detto Orizonte, 178 
 Bloemart, Abraham, 103 
 Boissieu, J. J. de, 122 
 Bolognese, Gio. F. Grimaldi, 78 
 Borsum, A. Van, 173 
 
 Both, John, 136 
 Bottani, Giuseppe, 82 
 Bouchardon, 122 
 Boucher, Francois, 120 
 Bramante, Donato Lazzari, 3 
 Brauwer, Adrian, 134 
 Breemberg, Bartholomew, 147 
 Breughel, Jan (called Velvet Breu- 
 ghel), 85 
 Breughel, Peter, 84 
 Brill, Paul, 84 
 
 Buonaccorsi, Pierino, detto del Vaga, 
 22 
 
 Buonaroti, Michelangiolo, 8 
 Burgmair, Hans, 99 
 
 Cabel, A. Van de, 161 
 Cagliari, Paolo, detto Veronese, 56 
 Caldara (Polidoro da Caravaggio), 19 
 Callot, Jacques, no 
 Calvert, Denis, 85 
 Cambiaso, Giovanni, 43 
 Cambiaso, Luca (called Luchetto), 45 
 Campagnola, Domenico, 53 
 Canaletto, Antonio, 58 
 Cantarini, Simone, 79 
 Caracci, Agostino, 64 
 Caracci, Annibale, 65 
 Caracci, Ludovico, 63 
 Caravaggio, M. Amerigi da Cara- 
 vaggio, 69 
 Caravaggio, Polidoro Caldara da, 19 
 Cardi, Ludovico detto Cigoli, 32 
 Carucci, Jacoppo Pontormo, 18 
 Castiglione, Giovanni Benedetto, 48 
 Cats, Jacob, 187 
 Cellini, Benvenuto, 24 
 Chenu, Le, 115 
 Cignani, Carlo, 81 
 Cigoli, Ludovico, 32 
 
20O 
 
 INDEX OF MASTERS. 
 
 Cimabue, Giovanni, i 
 Cipriani, Giovanni Battista, 195 
 Claude, Gelee, detto Lorraine, 111 
 Clovio, Giulio, 21 
 Cock, Michael, 84 
 
 Coreggio, Antonio Allegn, detto il, 41 
 
 Coreggio, Francesco, 47 
 
 Corneille, Michel, 114 
 
 Cortona, Pietro Berretino, 35 
 
 Costa, Lorenzo da (di Ferarra), 41 
 
 Credo, Lorenzo di, 5 
 
 Cresti, Cav. Dominico Passignano, 3 1 
 
 Creti, Donato, 82 
 
 Cuyp, Albert (or Kuyp), 129 
 
 Dietrichi, Christian, 106 
 Dilst, Egbert van, 189 
 Does, Jan van der, 153 
 Dolci, Carlo, 36 
 Doomer, J., 175 
 Domenichino, Zampieri, 72 
 Donatello, 1 
 
 Donato, Lazzari Bramante, 3 
 
 Douw, Gerard, 142 
 
 Dughet, Gaspar, detto Poussin, 112 
 
 Durer, Albert, 98 
 
 Dusart, Cornelius, 180 
 
 Elsheimer, Adam, 103 
 Everdingen, Albert, 151 
 Eyck, Jan van, 83 
 
 Falens, Van, 95 
 Ferg, Paul, 105 
 Ferri, Ciro, 38 
 Fiamingo Enrico, 81 
 Fiesole, Fra Angelico, 2 
 Flamen, Albert, 173 
 Fragonard, Honore, 121 
 Franco, Battista, 53 
 
 Galli, Ferdinando, 82 
 Galvan, Juan, 108 
 
 Garofalo, Benvenuto Tisi (detto il), 9 
 Gelee, Claude, m 
 Gheyn, James de, 126 
 Ghizzi, Cav. Pitro Leone, 39 
 Gentileschi, Grazio Lorni, 34 
 Giardini, 60 
 Gillot, 114 
 
 Giorgione, Giorgio Barbarelli (detto), 
 49 
 
 Giotto (di Bondone), I 
 Goltzius, Henry, 124 
 Goyen, Jan van, 126 
 Granet, Marius, 123 
 Greuze, J. B., 121 
 
 Grimaldi, Giovanni, Francesco (detto 
 
 il Bolognese), 78 
 Grunn, II. B., 99 
 
 Guardi, Francesco, 59 
 
 Guercino, G. F. Barbieri, detto, 74 
 
 Guido, Reni, 69 
 
 Hackaert, John, 165 
 Hagen, Jan van, 166 
 Hals, Frank, 90 
 Heiss, Christopher Elias, 104 
 Hemskerck, Egbert, 124 
 Heugtenburgh, A., 174 
 Heusch, William, 169 
 Heusch, Jacob de, 178 
 Heyden, Jan van, 169 
 Hobbima, Minderhout, 94 
 Holbein, Hans, 100 
 Hondecoeter, Melchior, 168 
 Hooge, Peter de, 173 
 Hopfer, David, 101 
 Hopfer, Jerome, 101 
 Huysman, de Malines, 95 
 Huysum, Jan van, 185 
 
 Jacobs, Lucas (called Lucas van Ley- 
 den), 124 
 Jardin, Karel du, 172 
 Jordaens, Jacob, 90 
 
 Kauffman, Angelica, 195 
 Kessel, Jan van, 94 
 Kobell, H., 189 
 Kobel, J., 193 
 Koning, Philippe de, 146 
 Kruger, Matthew, 103 
 
 Lancret, Nicolas, 118 
 
 Lanfranco, Giovanni, 74 
 
 Lazzari, Donato (detto Bramante 
 
 d'Urbino), 3 
 Leoni, Ottavio, 34, 197 
 Leyden, Lucas van (Lucas Jacobs, 
 
 called), 124 
 Licino,Cav. Gio. (detto II Pordenone), 
 
 52 
 
 Lievens, Jan, 133 
 
 Ligori, Piero, 17 
 
 Lindtmeyer, Daniel, 101 
 
 Lingelbach, John, 156 
 
 Lorni, Orazio, detto Gentileschi, 34 
 
 Luyken, John, 175 
 
 Maas, Arnold, 149 
 Maas, Dirk, 178 
 Mabeuge, Jan de, 97 
 Mantegna, Andrea, 2 
 Maratta, Carlo, 37 
 Marssen, J., 128 
 
 Masaccio (Maso da San Giovanni. 
 
 detto), 2 
 Maso, da San Giovanni, 2 
 Maturino (of Florence^, 17 
 
INDEX OF MASTERS. 
 
 201 
 
 Maurer, Christopher, 102 
 
 Mazzuoli, Francesco, 43 
 
 Mazzuoli, Girolamo, 47 
 
 Mecheln, Israel van, 97 
 
 Meer, Van der (de Jonghe), 181 
 
 Mengs, Raphael, 107 
 
 Merian, Maria Sybilla, 104 
 
 Metzu, Gabriel, 143 
 
 Michelangiolo Buonaroti, 8 
 
 Michelangiolo A. da Caravaggio, 69 
 
 Mieris, William van, 179 
 
 Moine, Francis Le, 118 
 
 Mola, Francesco, 80 
 
 Molyn, Peter, 169 
 
 Moucheron, Frederic, 176 
 
 Moucheron, Isaac, 182 
 
 Murillo, Bartholome Estaban, 109 
 
 Mutiano, Girolamo, 28 
 
 Nanni, Giovanni d'Udine, 18 
 Natoire, Charles, 120 
 Neefs, Peter, 87 
 Netscher, Gaspard, 170 
 Neyts, G., 175 
 Nickele, J. van, 173 
 Nieulandt, W. van, 90 
 
 Ommeganck, B. P., 191 
 Orizonte, J. F. Bloeman, 178 
 Ostade, Adrian, 136 
 Oudry, Jean Baptiste, 117 
 
 Palma, Jacopo II Giovane, 57 
 Palma, Jacopo II Vecchio, 54 
 Panini, Paolo, 39 
 
 Parmegiano, Francesco Mazzuoli, 43 
 
 Pass, Crispin de, 125 
 
 Passerotti, Bartolomeo, 62 
 
 Passignano Dominico, Cav. Cresti, 31 
 
 Pater, John Baptiste, 119 
 
 Penni, Giovanni Francesco (detto il 
 
 Fatore), 15 
 Penni, Lucca, 21 
 
 Perugino, Pietro Vannucci, detto, 4 
 Peruzzi, Baldassare, 8 
 Petri, de Pietro, 39 
 Picart, Bernard, 114 
 Pinturicchio, Bernardino, 5 
 Piombo, Sebastian del, 52 
 Pippi, detto Giulio Romano, 9 
 Poccetti, Bernardino, 30 
 Poilly, 114 
 
 Polidoro, Caldara da Caravaggio, 19 
 Ponte, Jacopo da (detto II Bassano), 54 
 Ponte, Jacopo da, the younger (detto 
 
 II Bassano), 57 
 Pontormo, Carucci, Jacopo, detto il, 18 
 Pordenone, Licinio, detto il, 52 
 Porta, Baccio della (detto Fra Bar- 
 
 tolommeo di San Marco), 6 
 
 Porta, Giuseppe, 26 
 Potter, Paul, 156 
 
 Poussin, Gaspar (Gaspar Dughet), 112 
 
 Poussin, Nicolas, no 
 
 Primaticcio, Francesco, 41 
 
 Prins, H. J., 193 
 
 Procaccino, Camillo, 62 
 
 Pynaker, Adam, 152 
 
 Rademacher, Abraham, 185 
 Rademacher, Gerard, 184 
 Raffaelle, Sanzio d'Urbino, 12 
 Ramenghi, Bartolommeo (detto II 
 
 Bagnacavallo), 14 
 Rembrandt van Ryn, 130 
 Reni, Guido, 69 
 Ribera, Josef Spagnoletto, 108 
 Ridinger, John Elias, 105 
 Robert, Hubert, 121 
 Robusti, Giacopo (detto il Tintoretto), 
 
 55 
 
 Roghman, Roland, 127 
 
 Romanelli, Gio. Francesco, 36 
 
 Romano, Giulio Pippi (detto G.), 9 
 
 Romeyn, William, 158 
 
 Roos, John Hendrick, 160 
 
 Rosa, Sal vat or, 80 
 
 Rossi, Francesco (detto Salviati), 24 
 
 Rothenhaemer, John, 103 
 
 Rubens, Peter Paul, 87 
 
 Ruysdael, Jacob, 167 
 
 Ruysdael, Solomon, 144 
 
 Salimbini, Arcangiolo, 27 
 Salimbini, Ventura della, II Cav. Be- 
 
 vilacqua, 31 
 Salvi, Gio. Batista II Sasso Ferrato, 35 
 Salviati, Francesco Rossi, 24 
 Sanredam, Peter, 134 
 Sarto, Andrea del, 16 
 Sasso Ferrato, Gio. Batista Salvi, 35 
 Savory, Roland, 87 
 Schaeuflein, Hans John, 99 
 Schidone, Bartolomeo, 47 
 Schwartz, Christopher, 102 
 Schoengaur, Martin, 96 
 Sciarpelloni, Lorenzo di Credo, 5 
 Slingelandt, J. P., 172 
 Solari, Andrea, 45 
 Snyders, Francis, 88 
 Spagnoletto, Josef Ribera, 108 
 Steen, Jan, 167 
 Stella, Jacques, in 
 Stimmer, Tobias, 101 
 Storck, Abraham, 176 
 Storck, John, 175 
 Stry, Jan van, 191 
 Swaneveldt, Herman, 147 
 
 Tempesta, Antonio, 31 
 
 P 
 
202 
 
 INDEX OF MASTERS. 
 
 Teniers, David, 93 
 Terburgh, Gerard, 134 
 Tibaldi, Pellegrino, 61 
 Tiepolo, G. B., 58 
 Timotheo d'Urbino, 7 
 Tintoretto, Jacopo Robusti, 55 
 Tischbein, H., 106 
 Tisi, Benevuto detto II Garofalo, 9 
 Tiziano, Vecellio, 50 
 Toornvliet, Jacques, 173 
 Troost, Cornelius, 187 
 
 Udine, Giovanni Nanni, detto da, 18 
 Ulft, Jan van der, 157 
 Urbino, Timotheo d' (detto de la 
 Vfce), 7 
 
 Vaga, Pierino del Buonaccorsi, 22 
 Van Bergen Dirk, 174 
 VamBorsum, A., 173 
 Van de Cable, A., 161 
 Vander Does, J., 153 
 Van der Heyden, Jan, 169 
 Vandermeulen, A. F., 94 
 Vanderneer, Arnold, 147 
 Vander, Ulft Jan, 157 
 Vandervelde, Adrian, 170 
 Vandervelde, Esaias, 125 
 Vandevelde, William the Elder, 137 
 Vandevelde, William, 161 
 Vanderwerf, Adrian, 178 
 Vandyck, Anthony, 91 
 Van Dilst, Egbert, 189 
 Van Eyck, Jan, 83 
 Van Falens, 95 
 Van Goyen, Jan, 126 
 Van Hagen, Jan, 166 
 Van Huysum, Jan, 185 
 Van Kassel, Jan, 94 
 Van der Meer, Jan, 181 
 
 Van Mieris, William, 179 
 
 Van Stry, Jan, 191 
 
 Van Veen, Rocho, 105 
 
 Vanni, Francesco, 47 
 
 Vannucci, Pietro Perugino, 4 
 
 Vanucchi, Andrea del Sarto, 16 
 
 Vassari, Giorgio, 24 
 
 Vecellio, Tiziano, 50 
 
 Velasquez da Silva (Don Diego), 10S 
 
 Veneziano, Agostino, 52 
 
 Verhelst, Jiles, 107 
 
 Veronese, Paolo Cagliari (detto Paolo 
 
 Veronese), 56 
 Verschuring, Henry, 158 
 Vinci, Leonardo da, 3 
 Vinckenbooms, David, 88 
 Vitringa, William, 179 
 Vite Timotheo d'Urbino, 7 
 
 Waterloo, Antonio, 145 
 
 Watteau, Antonio, 115 
 
 Weeninx, J. B., 152 
 
 Weyden, Roger van der (called Roger 
 
 de Bruges), 83 
 Wit, Jacob de, 187 
 Wolgemut, Michael, 97 
 Wouvermans, Peter, 155 
 Wouvermans, Philippe, 149 
 Wyck, Thomas, 144 
 Wynants, John, 128 
 
 Zachtleven, Herman, 134 
 Zachtleven, Cornelius, 130 
 Zagel, Martin, 99 
 
 Zampiere, Domenico (detto Dome- 
 
 nichino), 72 
 Zeitbloom, Bartholomew, 97 
 Zucherelli, Francesco, 194 
 Zuccaro, Frederico, 30 
 Zuccaro, Taddeo, 28 
 
 London : Printed by John Strangeways, 28 Castle St. Leicester Sq. 
 
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GETTY RESEARCH ' 
 
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