PROVISIONAL CATALOGUE 
 
 or THE 
 
 OIL PAINTINGS 
 
 AMD 
 
 WATER COLOURS 
 
 IN 
 
 THE WALLACE COLLECTION 
 
 WITH 
 
 Sfiort Notices of tftc ^^amters. 
 
 BY A\UiTHORITY OF THE TRUSTEES. 
 
 0 
 
 FOURTH EDITION. 
 
 LONDON ; 
 
 PRINTED FOR HIS MAJESTY’S STATIONERY OFFICE 
 AND SOLD AT HERTFORD HOUSE. 
 
 1903. 
 
 Price Sixpetice. 
 
First Printed 
 
 Reprinted 
 
 June, 1900. 
 July, 1900. 
 
 Second Edition 
 
 Reprinted with Corrections 
 
 Reprinted with Addenda 
 
 ... July, 1900. 
 
 ... October, 1900. 
 
 ( October, 1900. 
 *“ ( January, 1901. 
 
 Third Edition 
 
 Reprinted with Corrections 
 
 March, 1901. 
 September, 1901. 
 
 Fourth Edition 
 
 April, 1903. 
 
- 0 
 
PROVISIONAL CATALOGUE 
 
 OP THE 
 
 OIL PAINTINGS 
 
 AND 
 
 WATER COLOURS 
 
 IN 
 
 THE WALLACE COLLECTION 
 
 WITH 
 
 Stort Notices of tf)e ?3ainters* 
 
 BY AUTHORITY OF THE TRUSTEES, 
 
 FOURTH EDITION. 
 
 LONDON: 
 
 PRINTED FOR HIS MAJESTY’S STATIONERY OFFICE. 
 
 AND SOLD AT HERTFORD HOUSE. 
 
 1903. 
 
 Price Sixpence. 
 
WALLACE COLLECXrON. 
 
 HOURS OF OPENING AND CLOSING. 
 
 Admission to the Wallace Collecfcion is FREE except on 
 TUESDAYS and FRIDAYS, when SIXPENCE is charged; 
 and is open to the Public as follows : — 
 
 Houes of Opening. 
 
 Hours of Closing. 
 
 Monday 
 TUESDAY 
 Wednesday 
 Thursday 
 FRIDAY ... 
 Saturday ... 
 
 ... 12 noon. 
 
 I 
 
 10 a.m. 
 
 J 
 
 January ... 
 February... 
 March 
 April 
 to 
 
 September 
 
 (inclusive) 
 October ... 
 
 November 
 
 December 
 
 } 
 
 4 p.m. 
 4.30 p.m. 
 
 5 p.m. 
 
 6 p.m. 
 
 5 p.m. 
 4 p.m. 
 
 Sunday 
 
 ... 2 p.m. 
 
 April 5 p.m. 
 
 May to September 6 p.m. 
 (inclusive) 
 
 October ... ... 5 p.m. 
 
 (On Sundays open only from 
 April to October inclusive.) 
 
 (Closed on Sundays during the 
 remainder of the year.) 
 
 Note. — The Wallace Collection is closed ou Good Friday, 
 Christmas Eve, and Christmas Da}^ On Bank Holidays the 
 Museum opens at 10 a.m., instead of, as usual on Mondays, at 12. 
 
-Jo 
 
 Pl an of the Wallace Collection at Hertfo rd Hou se. 
 
 1. Ground Floor. 1 1 . Fi rst Floor 
 
 1 . Portraits of lloyal/ 
 
 PcrsoTvages- 
 
 2. FrencivF'urniture,. 
 
 3. PaJrvtu^ oftho 
 
 KarUer Sdtools, 
 
 Majolicay&Lirrvoges 
 
 Enatrvels. 
 
 Scijiipturt-HoM. 
 
 SJaJ.Eztropean/ 
 
 Armotuy. 
 
 a. OrijcntalArmoury. 
 
 BAOErcnc/oand<Brttish> 
 
 Sf}ioolsofi9^^.ntujy. 
 
 I \Patnttngs by Oudry 
 anflPesport&s,ctMb 
 Mitdatia-ee. 
 
 I Lm’oxtories . 
 
 1 2 . FrenAiFtirruturef&o. 
 and/Paintings by 
 CanaletUi ancOGwardi<. 
 \'^tA‘f.IhUchj Schools of 
 17^''Centwry. 
 
 15 . FrefidvcxtidPrifish- 
 
 Schools oflA'Catiary^ 
 
 16. ItoiLLcmc, Spcmish. 
 
 Flemish. Dutch &■ 
 Faglisl) . Schools. 
 
 17. SchcxiscflJ'Hjhitmy. 
 
 I8.I9.20.^<? GPEAT 
 
 S'JiilB<JASE, PreruAt 
 
 Schoolsof'/Sidentur\! 
 
 2 \SllZ.fiiUerfo/ours. 
 
 23. VestbhuJc-, Freu^', 
 Schools (f I8*l^fcntury. 
 
 .Weller & Graham.. Litho. London. 
 
' M 
 
 https://archive.org/details/provisionalcatalOOwal^ 
 
REGULATIONS 
 
 The Regulations for the admission of the Public are as 
 follows : — 
 
 1. No visitor is allowed to touch any picture or object 
 exhibited, or to go within the railings placed before the pictures, 
 furniture, and works of art. 
 
 2. It is not permitted to take umbrellas or parcels into the 
 Gallery ; or to carry sticks, except in cases of infirmity recognised 
 by the attendants. Sticks, umbrellas, and parasols must be left 
 with the attendants in the Hall. The same Regulation is 
 extended to all articles which might be used to point at pictures. 
 
 3. No visitors are permitted to bring in provisions of any 
 kind, or to take refreshments in the Galleries, nor are they 
 allowed to carry or produce bottles, &c., or to throw about any 
 paper or refuse. Smoking is absolutely forbidden in the building. 
 
 4. In case of noise, indecorous behaviour, or of other 
 misconduct on the part of any visitor, the attendants will call in 
 the assistance of the police. Any person so offending will' be 
 liable to immediate expulsion. 
 
 5. Children under the age of 12 will be admitted only when 
 in charge of responsible adults ; under the age of 8, they wdl not 
 be admitted under any circumstances. No person is to be 
 admitted in a state of intoxication. 
 
 CATAXiOaUXSS. 
 
 Authorised Catalogues are sold only at Hertford House, as 
 follows : — 
 
 Provisional Catalogue of Paintings 6d. 
 
 Abridged Catalogue of Paintings 2d« 
 
 Provisional Catalogue of Furniture and Objects of ) ^ - 
 Art generally in the Wallace Collection ... ... j 
 
 Catalogue of European Armour and Arms ... ... 6d. 
 
 10000 Wt 196 5/1903 D & S W.C. 11233 A 2 
 
V 
 
 INTRODUCTION. 
 
 The Wallace Collection, consisting of paintings, water- 
 colour drawings, miniatures, illuminations, bronzes, armour and 
 arms, furniture, porcelain and faience, enamels, snuff boxes, 
 ivories, medals, glass, and other precious works of art, was 
 bequeathed by the late Lady Wallace to the British nation 
 under her will, bearing date the 23rd of May, 1894. The 
 Testatrix died on the 16th of February, 1897. The main terms 
 of the bequest were the following : — 
 
 The collection was bequeathed on the condition that the 
 Government for the time being should agree to give a site in a 
 central part of London, and build thereon a special museum to 
 contain it, and it was provided that the said collection should 
 always be kept together, unraixed with other objects of art, and 
 should be styled “ The Wallace Collection.” 
 
 The bequest was expressly made to include the Louis 
 Quatorze balustrade to the Great Staircase at Hertford House, 
 which was to be used in the new museum to be erected for the 
 display of the collection. The bequest was made subject to the 
 further condition that Her Majesty’s Government should nominate 
 Mr. John Murray Scott to be one of the Trustees, of the collec- 
 tion for the Nation, and also that for the time (not exceeding 
 a period of four years from the decease of the Testatrix) during 
 which it should remain at Hertford House, it should be at the 
 risk and peril of Her Majesty’s Government, by whom was also 
 to be defrayed the cost of superintendence and preservation in 
 respect of the same. As a preliminary to the consideration of the 
 main question whether the Wallace Collection should be per- 
 manently established at Hertford House, or, as dmected in the 
 
INTRODUCTION. 
 
 V 
 
 will of the late Lady Wallace, in a new museum to be constructed 
 for the express purpose of containing it, a case was submitted to 
 the Law Officers of the Crown. They gave the opinion that, 
 although the purchase and adaptation of Hertford House could 
 not be considered a strict compliance with the terms of the 
 bequest, yet, if the residuary legatee, Mr. Murray Scott — he being, 
 as it was shown, the only person who could make a claim in this 
 respect under the Will — should concur in the arrangement, and bind 
 himself and his legal representatives to treat the purchase and 
 adaptation of Hertford House as a fulfilment of the condition in 
 the same, then the G-overnment would be justified in effecting 
 such purchase and adaptation. Mr. John Murray Scott forma] ly 
 concurred in the adoption of this arrangement by Her Majesty's 
 Government. 
 
 Under the Treasury Minute of 3rd May, 1897, a Committee 
 was appointed, consisting of The Right Honourable the Marquis 
 of Lansdowne, K.G., G.C.M.G., G.C.S.I. (Chairman) ; The Right 
 Honourable Sir William Vernon Harcourt, M.P. ; Sir Edward J. 
 Poynter, P.R.A. ; Mr. Algernon Bertram Freeman Mitford, C.B. ; 
 Sir Francis Mowatt, K.C.B. ; Mr. Walter Armstrong, Director of 
 the National Gallery of Ireland ; Mr. Alfred C. de Rothschild ; 
 Mr. Alfred Waterhouse, R.A., LL.D., to consider “ where, in what 
 manner, and at what probable cost, provision might best be made 
 for the housing and exhibition of the art collection recently 
 bequeathed to the nation by Lady Wallace, and to make any 
 recommendations that might seem fit to them as to the constitution 
 of the Trust in which the collection should be vested.” The 
 Committee submitted in their Report, presented to both Houses 
 of Parliament in July, 1897, that, in their opinion. Her Majesty’s 
 Government would be well advised if they were to arrange that 
 the collection should be allowed to remain at Hertford House 
 subject to the condition that the galleries and apartments should 
 bo suitably altered for the purpose. They therein recorded their 
 conclusions to the effect that such an arrangement would be in 
 accordance with the terms of the bequest, and would, in the view 
 of the Executors, give effect to the wishes of the Testatrix ; that 
 it would, more than any other arrangement, preserve the 
 
VI 
 
 INTRODUCTION. 
 
 distinctive character of the collection ; that it would be much the 
 least costly of the alternatives suggested ; that it would avoid the 
 risks inseparable from removal and re-arrangement ; that it would 
 provide a museum which, owing to its complete detachment from 
 other buildings, would be specially free from risk of fire ; and 
 finally that it would avoid the necessity for delay, and afford the 
 public an opportunity of entering into the enjoyment of the 
 priceless collection bequeathed to the Nation within a shorter 
 time than under the alternative scheme. 
 
 Sir E. J. Poynter, not being in complete agreement with the 
 Committee on certain points, made a separate Report, pointing out 
 the advantages which, in his opinion, would result from the 
 housing of the Wallace Collection in a new building to be 
 constructed in the vicinity of the National Gallery. 
 
 In addition to Mr. John Murray Scott (now Sir John Murray 
 Scott, Bart.), who had been specially nominated under the Will, 
 the following Trustees were appointed by Treasury Minute dated 
 28th July, 1897, to take over the Wallace Collection : — The Right 
 Honourable the Earl of Rosebery, K.G., K.T. ; The Right 
 Honourable Sir Edward Malet, G.C.B., G.C.M.G. ; Sir John 
 Stirling Maxwell, Bart., M.P. ; Major-General Sir Arthur E. A. 
 Ellis, K.C.Y.O., C.S.I. ; Alfred C. de Rothschild, Esq. ; A. B. 
 Freeman Mitford, Esq., C.B. Under the Treasury Minute of that 
 date, Mr. Claude Phillips was appointed Keeper of the Wallace 
 Collection. 
 
 The Wallace Collection was brought together in the main 
 by Francis Charles, third Marquess, and Richard, fourth 
 Marquess of Hertford. It was, however, largely added to, and in 
 many essential respects, re-organised by the late Sir Richard 
 Wallace, to whom it had passed by bequest. The European 
 armoury, unique of its kind in England, is entirely his creation. 
 The Masters of the French School of Painting of the eighteenth 
 century, and especially Watteau, Lancret, Pater, Le Moine, Oudry, 
 Nattier, Boucher, Fragonard, and Greuze, are represented as they 
 are in no public or private gallery in Europe, except that of the 
 Louvre, which is, under this head, surpassed in several important 
 
INTRODUCTION. 
 
 Vll 
 
 particulars by the Wallace Collection. The Italian pictures are 
 few, but of fine quality, and include important works by Cima da 
 Conegliano, Bernardino Luini, Andrea del Sarto, and Titian, 
 besides interesting fragments detached from frescoes of the 
 Lombard and other Italian Schools. A special feature of the 
 collection is the important series of canvases by Canaletto and his 
 School and the unsurpassed group of similar pictures by Francesco 
 ^^uardi. The works of the Spanish School include groups of 
 paintings by Velazquez and Murillo and a picture by Alonso Cano. 
 Among the great artists of Flanders, Rubens, Van Dyck, Cornelis 
 de Vos, J ordaens, Gonzales Coques, Adriaan Brouwer, David Teniers 
 the Younger, and many others are magnificently represented. 
 Illustrating the Dutch School in its prime there are famous canvases 
 by Rembrandt, Frans Hals, Van der Heist, Adriaan and Isack van 
 Ostade, Adriaan and Willem Van de Velde, Pieter de Hooch, 
 Terborch, Metsu, Philips Wouverman, Jacob van Ruysdael, 
 Hobbema, Berchem, Paul Potter, Aalbert Cuyp, Jan Davidz 
 de Heem, Jan Baptist Weenix, Jan Weenix, Van Huysum, 
 and many others. The English School is represented by 
 some of the masterpieces of Reynolds and Gainsborough, besides 
 works by Romney, Hoppner, Lawrence, Turner, Bonington, 
 Wilkie, Clarkson, Stanfield, David Roberts, and others. Among 
 the celebrated French artists of the nineteeth century 
 unrepresented in any other public gallery in London are 
 Prud’hon, Gericault, Gros, Delacroix, Leopold Robert, 
 Scheffer, Decamps, Marilhat, Horace Vernet, Couture, Meis 
 sonier, Paul Delaroche, Gerome, Corot, Theodore Rousseau, 
 Troyon, Jules Dupre, and Diaz. The collection comprises rare 
 examples of the Italian majolica of Gubbio, Urbino, Pesaro, 
 Castel Durante, and Caffaggiolo ; Limoges and other enamels ; 
 ivories and other precious objects. The collection of Sevres 
 porcelain is among the finest in the world ; it can only be 
 paralleled with those of His Majesty the King at Windsor Castle 
 and Buckingham Palace. The collection of French snuff boxes of 
 the eighteenth century is also exceptional. The miniatures com- 
 prise some examples by the most renowned artists of the English 
 and foreign schools. The sculpture includes, besides bronzes of the 
 sixteenth and seventeenth centuries, works of the seventeenth and 
 
Vlll 
 
 INTRODUCTION. 
 
 eighteenth centuries by Warin, Coysevox, Girardon, Bouchardon, 
 Falconet, Houdon, and others. The collection of French 
 furniture of all kinds, of clocks, garnitures, candelabra, 
 candlesticks, bronzes, and ornamental objects of the seventeenth 
 and eighteenth centuries stands alone ; no single collection in 
 France or England, whether public or private, affords such oppor- 
 tunity for the study of this branch of decorative art. 
 
 An important selection from the pictures now included in the 
 Wallace Collection was exhibited by the then Marquis of Hert- 
 ford at the Manchester Fine Arts Exhibition of 1857, in a gallery 
 specially set aside for the purpose. After the siege of Paris in 
 1870-71, the French section of the collection was brought over to 
 England by the late Sir Richard Wallace. The whole of it, as it 
 then existed, with the exception of certain canvases too large 
 for exhibition, was lent by him to the new Bethnal Green 
 Branch of the South Kensington Museum, which it completely 
 iBlled. This public exhibition at Bethnal Green lasted from 
 June 1872 until April 1875. On ®r about the latter date, the 
 collections were restored to Hertford House, which had been 
 in the meantime largely altered and partially reconstructed in 
 order to receive them. They were then re-arranged under the 
 personal supervision of the late Sir Richard Wallace and have 
 from that time remained permanently at Hertford House ; loans 
 of important pictures being made, however, from time to time to 
 the Winter Exhibitions of Old Masters brought together by the 
 Royal Academy. As a consequence of the recommendations of 
 the Committee, already cited, a partial reconstruction of Hertford 
 House has been carried out, among the main features of which 
 are the building, on the site of the stables, of a series of four 
 large galleries, to contain the European and Oriental Armouries, 
 and the construction, on the first floor, of the top-lighted gallery, 
 which now contains French pictures and furniture of the 
 eighteenth century. The arrangement of the collections in the 
 galleries, as altered and reconstructed, is an entirely new one. 
 
INDEX 
 
 TO THE NAMES OF THE MASTERS 
 
 BBPRB8ENTED IN 
 
 THE WALLACE COLLECTION. 
 
 ARRANGED ACCORDING TO THE NUMBERS OP THE PICTURES. 
 
 OIL PAINTINGS. 
 
 Gallery XVX. 
 
 Italian^ Spanish^ Flemish^ Dutch^ and British 
 Schools. 
 
 No. 
 
 1 Cima, Giovanni Battista, 
 
 (called Cima da Coneg- 
 liano) 
 
 2 Bianchi, Francesco Bianchi 
 
 Ferrari 
 
 3 Murillo, Bartolonii Esteban 
 
 4 Velazquez, Fugo 
 
 5 Tiziano, VecelUo (after) 
 
 6 Velazquez, Fugo 
 
 7 Murillo, Bartolomi EsUban 
 
 (School of) 
 
 ' 8 Luini, Bernardino 
 9 Sarto, Andrea d' Agnolo di 
 Francesco 
 
 10 Luini, Bernardmo 
 
 11 Tiziano, Vecellio 
 
 No. 
 
 12 Velazquez, FUgo 
 13 ) 
 
 I Murillo, Bartoleme EsUban 
 
 15 Cano, Alonso 
 
 16 Dyck, Sir Anthony van 
 
 17 Ostade, Isaeh van 
 
 18 Vos, Cornelis de 
 
 19 Venetian School, (Bariy 
 
 16th Century) 
 
 20 Maes, Nicolas 
 
 21 Ostade, Faok van 
 
 22 Vos, Cornelis de 
 
 23 Hooch,(orHoogh),^«^<itf 
 
 24 Both, 
 
 25 Berchem, Claes Pietersz 
 
 26 Pourbus, Frans (the Elder) 
 
X 
 
 OIL PAINTINGB. 
 
 No. 
 
 27 Hooch, !(or Hoogh) Pieter 
 
 de 
 
 28 Both, 
 
 29 Rembrandt, Sarmensz van 
 
 Ryn 
 
 30 Rubens, Peter Paul 
 
 31 I 
 
 32 
 
 * Reynolds, 
 1 P.K.A. 
 
 Sir 
 
 Joshua, 
 
 33 ’ 
 
 
 
 
 4 
 
 Murillo, Bartolome Esteban 
 
 35] 
 
 Reynolds, 
 
 Sir 
 
 Joshua, 
 
 36) 
 
 1 P.R.A. 
 
 
 
 37 
 
 Romney, George 
 
 
 38 
 
 Reynolds, 
 
 Sir 
 
 Joshua, 
 
 
 P.R.A. 
 
 
 
 39 
 
 Lawrence, 
 
 Sir 
 
 Thomas, 
 
 
 P.R.A. 
 
 
 
 40 
 
 Reynolds, 
 
 Sir 
 
 Joshua, 
 
 
 P.R.A. 
 
 
 
 41 
 
 Hoppner, John, R.A. 
 
 42 
 
 Gainsborough, 
 
 Thomas, 
 
 
 R.A. 
 
 
 
 13 
 
 Reynolds, 
 
 Sir 
 
 Joshua, 
 
 
 P.R.A. 
 
 
 
 44 
 
 Gainsborough, 
 
 Thomas, 
 
 
 R.A. 
 
 
 
 45 
 
 Reynolds, 
 
 Sir 
 
 Joshua, 
 
 
 P.R.A. 
 
 
 
 46 
 
 Murillo, Bartolome Esteban 
 
 47 
 
 1 Reynolds, 
 
 Sir 
 
 Joshua, 
 
 48 
 
 ) P.R.A. 
 
 
 
 4:9 Cuyp, Aelbert- 
 60 Ruysdael, Paooh van 
 
 51 Cuyp, Aelbert 
 
 52 Rembrandt, Sarmensz van 
 
 Ryn 
 
 Dyck, Sir Anthony van 
 Cuyp, Aelbert 
 
 Rembrandt, Sarmensz vai. 
 Ryn 
 
 Ruysdael, Pctcol van 
 Pynacker, Adam 
 Murillo, Bartolome Eet^ban 
 Weenix, Jan 
 Hobbema, Meindert 
 DrOSt, Cornells 
 Weenix, Jatt- 
 RubenSj Peter Paul 
 Hondecoeter, Melchior de 
 Wouwerman, Philips 
 Mierevelt, MicMel Jansz 
 Weenix, Jan 
 
 Murillo, Bartolome Esteban- 
 Hondecoeter, Melchior de 
 Velazquez, Biego (ascribed 
 to) 
 
 Rubens, ^in" Peter Paul 
 Snyders, Erans 
 Ostade, Bach van 
 Bol, Ferdinand 
 Hobbema, Meindert 
 Heem, Jan Bavidsz de 
 Velde, Will&m van do (the 
 Younger) 
 
 Plinck, Covert 
 Dyck, Si'e Anthony van 
 Velde, Adriaen van de 
 Rubens, ^i'>' Peter Paul 
 Rembrandt, Barmensz van. 
 Ryn 
 
 Hondecoeter, Melchior de 
 Hals, Frans 
 
 No. 
 
 53 
 
 54 
 
 55 
 
 56 
 
 57 
 
 58 
 
 59 
 
 60 
 
 61 
 
 62 
 
 63 
 
 64 
 
 65 
 
 66 
 
 67 
 
 68 
 
 69 
 
 70 
 
 71 
 
 72 
 
 73 
 
 74 
 
 75 
 
 76 
 
 77 
 
 78 
 
 79 
 
 80 
 
 81 
 
 82 
 
 83 
 
 84 
 
OIL PAINTINGS. 
 
 XI 
 
 No. 
 
 85 Dyck, Sir Anthony van 
 
 86 Rembrandt, Barmensz van 
 
 Ryn 
 
 87 Weenix, Jan 
 
 88 Velazquez, Biego 
 
 89 Backer, Jacob Adriaensz 
 
 90 Rembrandt, Harmensz van 
 
 Ryn 
 
 91 Weenix, Jan 
 
 92 Deques, (Gonzales Coques 
 
 or Cocx) 
 
 No. 
 
 93 Rubens, Peter Paul 
 
 94 Dyck, Sir Anthony van 
 
 95 Hobbema, Meindert 
 
 96 Maes, Nicolas 
 
 97 Murillo, Bartolonie EetA- 
 
 ban 
 
 98 Weenix, Jan 
 
 99 Hobbema, Meindert 
 
 100 Velazquez, Biego 
 
 101 Fyt, Jan 
 
 aallery XVZZ. 
 
 Italian^ Flemish^ Dutch^ and French Schools of 
 17th Century, 
 
 No. 
 
 103 ^ 
 
 104 Murillo,. Bartolomd Este- 
 
 ban (School of) 
 
 105 Murillo, BartoloniS Este- 
 
 ban 
 
 106 Velazquez, Biego (after) 
 
 107 Heem, Cornells de 
 
 108 Poussin, Nicolas 
 
 109 Velazquez, Biego (after) 
 no Heist, Bartholomeus van der 
 
 111 Steen, Jan 
 
 112 Dyck, Sir Anth&ny van 
 
 (after) 
 
 113 Everdingen, Aiiart van 
 
 114 Claude Lorrain, ^Claude 
 
 Oellee') 
 
 No. 
 
 115 Pynacker, Adam 
 
 116 Rosa, Salvatore 
 
 117 Weenix, Jan Baptist 
 
 118 Dyck, Sir AntJumy van 
 
 (after) 
 
 119 Champaigne, Philippe de 
 
 120 Jordaens, Jacob 
 
 121 Hackaert, Jan 
 
 122 Largilliere, Nicolas de 
 
 123 Dyck, Sir Antk4>ny van 
 
 (after) 
 
 124 Weenix, Jan 
 
 125 Claude Lorrain, (^Clauds 
 
 Gellee') 
 
 126 Sassoferrato, iGU>vanni 
 
 Battista Salvi) 
 
 127 Cbampaigne, Philippe de 
 
xii 
 
 OIL PAINTINGS. 
 
 Ko. 
 
 1!^ Baoux, Jean 
 
 129 Cliampaigne, PUUp^pe de 
 
 130 Rigaud, Eyaeinthe 
 
 131 Domenichino, (Domenico 
 
 Zampieri) 
 
 132 Camphuysen, Govert 
 
 133 Murillo, Bartolomi MU- 
 
 han (Sciiool of) 
 
 134 Champaigne, Philippe de 
 
 No. 
 
 135 Vernet, Gaude-Joseph 
 
 136 Murillo, BartolomS E«U- 
 
 tan (Scliool of) 
 
 137 Velde, Willem van de 
 
 138 Cuyp, Aelbert 
 
 139 Poussin, Gaspard 
 140) 
 
 141 [Weenix, Jan 
 142' 
 
 aallery XIV- 
 
 DutcJi and Flemish Schools of 17th Century, 
 
 No. 
 
 143 Velde, Willem van de (the 
 
 Young-er) 
 
 144 Wouwerman, Philips 
 
 145 Velde, Willem van de 
 
 146 Weenix, Jan Baptist 
 
 147 Stry, Jacob van 
 
 148 Ruysdael, Jacob van 
 
 149 Huy sum, Jan van 
 
 150 Steen, Jan 
 
 151 Werff, Adriaen van der 
 
 152 Neeffs, Peter (the Elder) 
 
 153 Dietrich, Christian Wil- 
 
 helm Ernst 
 
 154 Steen, Jan 
 
 155 Mieris, Willem van 
 
 156 Ruysdael, Jacob van 
 
 157 Neer, Aert van der 
 
 158 Steen, Jan 
 
 159 Neer, Aert van der 
 
 160 Wynants, Jan 
 
 No. 
 
 161 Neer, Aert van der 
 
 162 Coques, (Gonzales Coques 
 
 or COCX) 
 
 163 Mieris, Willem van 
 
 164 Hobbema, Meindert 
 
 165 Werff, Adriaen van 
 
 der 
 
 166 Boursse, Psaias 
 
 167 Netscher, Caspar 
 
 168 Schalcken, Godfried 
 
 169 Ostade, Adriaen van 
 
 170 Dou, Gerard 
 
 171 Schalcken, Godfried 
 
 172 Cuyp, Aelbert 
 
 173 Rembrandt, Harm^isz 
 
 van Ryn 
 
 174 Weenix, Jan 
 
 175 Heem, Jan Davidsz de 
 
 176 Mieris, Willem van 
 
 177 Dou, Gerard 
 
OIL PAINTINGS. 
 
 Kill 
 
 No. 
 
 178 ) 
 
 [ Mieris, Willem van 
 
 180 Cuyp, Aelhert 
 
 181 Mieris, Willem van 
 
 182 Weenix, Jan 
 
 183 Berchem, Claes Pietersz 
 
 184 Neer, Aert van der 
 
 1 Berchem, Claes Pietersz 
 
 186 ' 
 
 187 Wouwerman, 
 
 188 Mieris, Willem van 
 
 189 Potter, Paulus 
 
 190 Wynants, Jan 
 
 191 Teniers, David (the 
 
 Younger) 
 
 192 Pot, Hendrick Gerritsz 
 
 193 Wouwerman, PkUi/ps 
 
 194 Velde, Willem van de (the 
 
 Younger) 
 
 No. 
 
 195 Heyden, Jan van der 
 
 196 Teniers, David (the 
 
 Younger) 
 
 197 Ruysdael, Jacob van 
 
 198 Both, Jan 
 
 199 Velde, Adriaen van de 
 
 200 Neer, Aert van der 
 
 201 Rembrandt, Harm^z 
 
 van Ryn 
 
 202 Ostade, Adriaen van 
 
 203 Rembrandt, Harmensz 
 
 van Ryn 
 
 204 Netscher, Caspar 
 
 205 Slingelandt, Pieter 
 
 Cornells van. 
 
 206 Metsu, Gabriel 
 
 207 Huysum, Jan van 
 
 208 Storck, Abraham 
 
 Gallery XZZZ. 
 
 Dutch and Flemish Schools of 1 7th Century, 
 
 No. 
 
 209 Steen, Jan 
 
 210 Teniers, David (the 
 
 Younger) 
 
 211 Brouwer, Adriaen 
 
 212 Netscher, Caspar 
 
 213 Berchem, Claes Pietersz 
 
 214 Netscher, Caspar 
 
 No. 
 
 215 Velde, Willem van de (the 
 
 Younger) 
 
 216 Wouwerman, Philips 
 
 217 Neer, Aert van der 
 
 , 218 Wouwerman, Philips 
 j 219 Potter, Paulas 
 I 220 Mieris, Willem van 
 
OIL PAINTINGS. 
 
 xiY 
 
 1 
 
 No. 
 
 Velde, Willem van de 
 
 282 J ardin, ^^rel du 
 
 223 Goques, (Gonzales Coques 
 
 or Cocx) 
 
 224 Maes, 
 
 225 Heyden, 
 
 226 Wouwerman, Philips 
 
 227 Teniers, David (tile 
 
 Younger) 
 
 228 Cuyp, AelheH 
 
 229 Rembrandt, Ha^mensz 
 
 van Ryn 
 
 230 Heyden, 
 
 231 Teniers, David (the 
 
 Younger) 
 
 232 G\k-^^^AeUert 
 
 233 Weenix, Jan 
 
 234 Metsu, Gabriel 
 
 235 ) Terborcb, or Ter Borch, 
 
 236 f Gerard 
 
 237 Netscher, Caspar 
 
 238 Rembrandt, Harmemz 
 
 van Ryn 
 
 No. 
 
 239 Maes, Nicolas 
 
 240 Metsu, Gabriel 
 
 241 Jardin, Karel du 
 
 242 Metsu, Gabriel 
 
 243 Neer, EgUn Hendrik van 
 
 der 
 
 244 Bakbuysen, Ludoif 
 
 245 Bercbem, Claes Pietersz 
 
 246 Velde, Willem van de (the 
 
 Younger) 
 
 247 Ruysdael, Jacob van (as- 
 
 cribed to) 
 
 248 Bakbuysen, Ludoif 
 
 249 Wynants, Jan 
 
 250 Cuyp, AelbeH 
 
 251 Metsu, Gabriel 
 
 252 Potter, Paulus 
 
 253 Cuyp, AelbeH 
 
 254 Witte, Emanuel de 
 
 255 Cuyp, Aelbert 
 
 256 Bercbem, Claes PiHersz 
 
 Gallery XV. 
 
 French and British Schools of 19th Century, 
 
 No. 
 
 257 Landseer, Sir Edwin, R.A. 
 
 258 Roberts, H.A. 
 
 259 Decamps, Alexandre- 
 
 Geibrid 
 
 260 Bonbeur, Harie-Rosa 
 
 No. 
 
 261 Decamps, Alexandre- 
 
 Gabriel 
 
 262 Couture, Thomas 
 
 263 Decamps, Alexandre- 
 
 Gabrid 
 
OIL PAINTINGS. 
 
 No. 
 
 264 Prud’hon, Pierre-Paul 
 
 265 Couture, Thomas 
 
 266 Diaz, Narcisse- Virgile Diaz 
 
 de la Pefia 
 
 267 Decamps, Alexandre- 
 
 Gabriel 
 
 268 'Qi2iZ^^(^'>’cisse-Virgile Diaz 
 
 de la Pefia 
 
 269 Decamps, Alexandre- 
 
 Gabriel 
 
 270 Bonington, Richard 
 
 Parhes 
 
 271 Isabey, Rugene- Gabriel 
 
 272 Prud’hon, Pierre- Paul 
 
 273 Bonington, Richard 
 
 Parhes 
 
 274 Gericault, Tcan - Louis- 
 
 Andre- Theodore 
 
 275 Leys, Jean- Auguste- Henri, 
 
 Baron 
 
 276 Delaroche, P^'^J 
 
 277 Vernet, Horace 
 
 278 Landelle, Charles 
 
 279 Cogniet, T^on 
 
 280 Vernet, Horace 
 
 281 (jQXOt^J^ebn-Baptiste-Camille 
 
 282 Delacroix Eugene 
 
 283 Rousseau, Pierre-JEhienm- 
 
 Theodore 
 
 284 Scheffer, Arg 
 
 285 Roqueplan, Camille- 
 
 Joseph- Etienne 
 
 286 Delaroche, Paul 
 
 287 Meissonier, Jean-Louts- 
 
 Ernest 
 
 288 Couture, Thomas 
 
 XY 
 
 Meissonier, Jean-Louis 
 Ehrnest 
 
 Decamps, Alexandre- 
 Gabriel 
 
 Marilhat, Prosper 
 Decamps, Alexandre- 
 Gabriel 
 
 Prud’hon, Pierre-Paul 
 Decamps, Alexandre- 
 Gabriel 
 
 Meissonier, Jean-Louis- 
 
 Ernest 
 
 Scheffer, Ary 
 Dupre, Jules 
 Delaroche, Paul 
 
 r A 
 
 Gerome, Jean-IAon 
 Decamps, Alexandre- 
 Gabriel 
 
 G r 0 S , Antoine - Jean, 
 Baron 
 
 r A 
 
 Gerome, Jean-Uon 
 
 Decamps, AlexandEre- 
 Gabriel 
 
 r A 
 
 Gerome, Jean-Leon 
 Decamps, Alexandre- 
 Gabriel 
 
 Gallait, Louis 
 Cooper, Thomas Sidney 
 
 R.A. 
 
 Nuyen, WynandJan Joseph 
 Delaroche, Paul 
 DiSiZ, A"arcisse- Virgile Diaz 
 de la Pena 
 
 Prud’hon, Pierre-Paul 
 Delaroche, Pa^d 
 
 No. 
 
 289 
 
 290 
 
 291 
 
 292 
 
 293 
 
 294 
 
 295 
 
 290 
 
 297 
 
 298 
 
 299 
 
 300 
 
 301 
 
 302 
 
 303 
 
 304 
 
 305 
 
 306 
 
 307 
 
 308 
 
 309 
 
 310 
 
 311 
 
 312 
 
 313 
 
 314 
 
xvi 
 
 OIL PAINTINGS. 
 
 No. 
 
 315 Prud’hon, Pierre-Paul 
 
 316 Scheffer, Ary 
 
 317 Marilhat, Prosper 
 
 318 D e C a in p S , Alexandre- 
 
 Gabriel 
 
 319 Boningto n , Richard 
 
 Parhes 
 
 320 
 
 321 
 
 322 
 
 323 
 
 324 
 
 325 
 
 326 
 
 327 
 
 328 
 
 329 
 
 330 
 
 331 
 332J 
 333 
 
 Delaroche, Raul 
 Scheffer, Ary 
 Bonington, Richard 
 Parhes 
 
 Delacroix, 
 
 Meissonier, 
 
 Ernest 
 
 Jean-Louis- 
 
 Bonington, Richard 
 Parhes 
 
 334 Marilhat, Prosper 
 
 335 Isabey, Eugene- Gabrwl 
 
 336 Vernet, Horace 
 
 337 Meissonier, Jtan-Louis- 
 
 Ernesd 
 
 338 Pettenkofen, August von 
 
 339 Bonington, Richard 
 
 Parhes 
 
 340 Coutuie, Thomas 
 
 341 Bonington, Richard 
 
 Parhes 
 
 342 Heilbuth, Ferdinand 
 
 343 Stanfield, Clarhson,^,A. 
 
 344 Troy on, Constant 
 
 No. 
 
 345 
 
 346 
 
 347 
 
 348 
 
 349 
 
 350 
 
 Decamps, Alexandre* 
 Gabriel 
 
 Vernet, Horace 
 
 Prud’hon, Pierre-Paul 
 
 Vernet, Horace 
 Decamps, Alexandre- 
 
 Gabriel 
 
 351 Bonington, Richard 
 
 Parhes 
 
 352 Wilkie, Sir David, R.A. 
 
 353 Decamps, Alexandre- 
 
 Gabriel 
 
 354 Stanfield, Clarhson, R.A. 
 
 355 Delaroche, Paul 
 
 356 Marilhat, Prosper 
 
 357 Wilkie, Sir David, R.A. 
 
 358 Delaroche, Raul 
 
 359 Troyon, Constant 
 
 360 Isabey, Eugene- Gabriel 
 
 361 Robert-Fleury, Joseph- 
 
 Nicolas 
 
 362 Bonington, Richard 
 
 Parhes 
 
 363 Brascassat, Jacgues- 
 
 Raymond 
 
 f \ Bonheur, MarU-Rosa 
 000 ^ 
 
 366 Ziem, Felix 
 
 ggg I Vernet, Horace 
 
 369 Meissonier, Jean-Louis- 
 
 Ernest 
 
 370 Couture, Thomas 
 
 371 Meissonier, Jean-LouU- 
 
 Ernest 
 
OIL PAINTINGS. 
 
 xvii 
 
 No. 
 
 372 Bonheur, Marie- Rosa 
 
 373 Landseer, Sir^Edwin, r.a. 
 
 374 Fauvelet, Jean-Baptlste 
 
 No. 
 
 375 Bonington, Richard 
 
 Parkes 
 
 376 Landseer, Sir Edwin, R.A, 
 
 Gallery XVZZZ. 
 
 French Schools of 18 th Century, 
 
 No. 
 
 377 Watteau, Antoim 
 
 378 Lancret, Mcoias 
 
 379 Fragonard, Jean-Honor^ 
 
 380 Pater, Jean - Baptiste - 
 
 Joseph 
 
 381 Watteau, Antoine 
 
 382 Fragonard, Jean-HonorS 
 
 383 Pater, Jean - Baptiste - 
 
 Joseph 
 
 384 Q-reuze, Jean- Baptiste 
 
 385 Boucher, Erangois 
 
 386 Pater, Jean - Baptiste - 
 
 Joseph 
 
 387 Watteau, Antoine 
 
 388 Greuze, Jean-Baptiste 
 
 389 Watteau, Antoine 
 
 390 Boucher, Erangois 
 
 391 Watteau, Antoine 
 
 392 Le Moine, or Le Moyne, 
 
 Erangois 
 
 393 Lancret, Mcoias 
 
 394 Fragonard, Jean-Honore 
 
 395 Watteau, Antoine 
 
 396 Greuze, Jean-Baptiste 
 14283 (W.C.) 
 
 No. 
 
 397 Pater, Jean - Baptist - 
 
 Joseph 
 
 398 Greuze, Jean-Baptiste 
 
 399 Boucher, Erangois 
 
 400 Pater, Jean - Baptiste - 
 
 Joseph 
 
 401 Lancret, Nicolas 
 
 402 ) 
 
 403 f Jean-Baptiste 
 
 404 Fragonard, Jean-Honor^ 
 405 ) Pater, Jean - Baptiste - 
 
 406 ^ Joseph 
 
 407 Greuze, Jean-Baptiste 
 
 I Lancret, Nwolas 
 
 410 Watteau, Antoine 
 
 411 Boucher, Erangois 
 
 412 Fragonard, Jean-Honori 
 
 413 Greuze, Jean- BapUste 
 
 414 Nattier, Jean-Marc 
 
 415 Greuze, Jean-Baptiste 
 
 416 Watteau, Antoine 
 
 417 Le Moine, or Le Moyne, 
 
 Erangois 
 
 B 
 
xviii 
 
 OIL PAINTINGS. 
 
 No. 
 
 418 Boucher, Frangou 
 
 419 Greuze, Jean-Baptiste 
 
 420 Pater, Jean - Baptiste - 
 
 Joseph 
 
 421 Greuze, Jean-Baptiste 
 
 422 Lancret, Nicolas 
 
 423 Boucher, Frangou 
 
 No. 
 
 424 Pater, Jean - Baptiste - 
 
 Joseph 
 
 425 Greuze, Jean-Baptiste 
 
 426 Pater, Jean - Baptiste - 
 
 Joseph 
 
 427 ) 
 
 I Greuze, Jean-Baptiste 
 
 Gallery XIX. 
 
 French Schools of 18 th Century, 
 
 No. 
 
 No. 
 
 429 Boucher, Frangou 
 
 430 Fragonard, JeanSonorS 
 431) 
 
 432 !■ Boucher, Frangou 
 433’ 
 
 434 Greuze, Jean-Baptiste 
 
 435 Boilly, Louis- Leopold 
 
 436 Lancret, Nicolas 
 
 437 Nattier, Jean-Marc 
 
 438 Boucher, Frangois 
 
 439 Watteau, Antoine 
 440^ 
 
 441 
 
 442 I 
 443J 
 
 444 
 
 445 
 
 446 
 
 447 J 
 
 [^Greuze, Jean-Baptiste 
 
 Boucher, Frangois 
 
 Gallery XX. 
 
 French Schools of 18 th Century, 
 
 No. 
 
 448 Lancret, Nicolas 
 
 449 Le Brun, Elisabeth-LouAse 
 
 Vigee 
 
 No. 
 
 450 Lancret, Nicolas 
 
 451 Loo, Charles- Andre (called 
 
 Carle yan Loo) 
 
OIL PAINTINGS. 
 
 XIX 
 
 No. 
 
 452 Pater, - Baptiste - 
 
 Joseph 
 
 453 Nattier, Jean-Marc 
 
 454 Greuze, Jean-Baptute 
 
 455 Fragonard, Jean-Jionor^ 
 
 456 Nattier, Jean-Marc 
 
 457 Le Brun, Mlsaheth-Louise 
 
 Vigee 
 
 458 Pater, - Baptiste - 
 
 Joseph 
 
 459 Greuze, Jean-Baptiste 
 
 460 Pater, Jean - Baptiste - 
 
 Joseph 
 
 461 Nattier, Jean- Marc 
 462 . Marne, Jean-Louis de 
 
 463 Troy, Jean-Frangois de 
 
 464 Lepicie, Nicolas- Bernard 
 
 No. 
 
 465 Lancret, Nicolas 
 
 f f * 
 
 466 Lepicie, Nicolas- Bernard 
 
 467 I French School I8th 
 
 468 1 Century). 
 
 469 Marne, Jean-Louis de 
 
 470 Troy, Jean-Frangois de 
 
 471 Boucher, FrangoU 
 
 472 Pater, Jean - Baptiste - 
 
 Joseph 
 
 473 Boilly, Louis-Leopold 
 474) 
 
 475 [ Charlier. 
 
 476’ 
 
 477 Van Loo^ Louis-Michel 
 
 478 Lancret, Ma>ias 
 
 479 Boilly, Louis-Lhpold 
 
 480 Vernet, Claude-Josepk 
 
 Grand Staircase. 
 
 French Schools of 18 th Century, 
 
 No. 
 
 481 ) 
 
 I Boucher, Frangois 
 
 483 Fragonard, Jean-IIonore 
 
 484 Le Moine, or Le Moyne, 
 
 Frangois 
 
 485 Boucher, Frangois 
 
 No. 
 
 486 Boucher, FrangoU 
 
 487 Le Moine, or Le Moyne 
 
 Frangois 
 
 488 Fragonard, 
 
 489 t 
 
 J Boucher, Frangois 
 
 r* 2 
 
 14283 r\Y.C.) 
 
XX 
 
 OIL PAINTINGS. 
 
 Gallery XZS. 
 
 Paintings hy Canaletto and his School: and by 
 Guardi, 
 
 No. 
 
 No. 
 
 491 
 
 492 
 
 493 
 
 494 
 
 495 
 
 496 
 
 497 
 
 498 
 
 499 
 
 500 
 501- 
 
 502 
 
 503 
 
 504 
 
 Guardi, Francesco 
 Canaletto, (Giovanni An- 
 tonio da Canale). 
 Guardi, 'Francesco 
 
 Canaletto, (Giovanni An- 
 tonio da Canale) 
 
 Guardi, Francesco 
 
 505 ) 
 
 506 
 
 507 > 
 
 508 
 509 ^ 
 
 510 
 
 511 
 
 512 
 
 513 
 614 
 
 515 
 
 516 j 
 517 ^ 
 518 ( 
 
 Canaletto, (Giovanni An- 
 tonio da Canale). 
 
 Guardi, Francesco 
 
 Canaletto, (Giovanni Aia- 
 tonio da Canale). 
 
 Guardi, Francesco 
 
 On Screen In Gallery XXIX. 
 
 No. 
 
 519 ^ 
 
 520 I 
 
 y Rubens, Sir Peter Paul 
 
 523 I 
 524J 
 
 Gallery III. 
 
 ftalian^ Netherlandish^ 
 Schools j 14th^ 15th, 
 
 No. , 
 
 525 Beccafumi, Bormnico 
 525a. Pollaiuolo, Antonw 
 626 Luini, Bernardino 
 
 French, and German 
 and 16th Centuries, 
 
 I No. 
 
 I 527 Crivelli, Carlo 
 I 528 Flemish School. (I6th 
 
 j Century). 
 
OIL PAINTINGS. 
 
 XXI 
 
 No. I 
 
 529 German School (i6th 
 
 Century). 
 
 630 Clouet, Frangois, School of. 
 
 631 Pourbus, 
 
 632 Clouet, FrangoU^ School of. 
 
 533 Hans Holbein, the 
 
 Younger, School of. 
 
 534 ) Flemish School, (i6th 
 
 535 Century). 
 
 536 Veronese School, (isth 
 
 Century). 
 
 537 ) Bramantino, (Bartoiom- 
 
 538 3 meo Suardi). 
 
 539 Ferrarese School, (i5th 
 
 Century). 
 
 540 Umbrian School, (Bate 
 
 15th Century). 
 
 541 ) North Italian School, 
 
 542 3 (16th Century). 
 
 543 Ferrarese School, (isth 
 
 Century). 
 
 544 Milanese School, (Early 
 
 16th Century). 
 
 No. 
 
 545 Spagna, Lo 
 
 546 Tiziano, Vecellio (after) 
 
 547 Hans Holbein, the 
 
 Younger, (School of). 
 
 548 Flemish School, (isth 
 
 Century). 
 
 549 Florentine School, (i^th 
 
 Century). 
 
 550 Sienese School (i^th 
 
 Century). 
 
 551 Clouet, Jea% (School of). 
 
 552 Parma, School of, (tl6th 
 
 Century). 
 
 553 Roman School, (i6th 
 
 Century). 
 
 554 Hans Holbein, the 
 
 Younger, (School of). 
 
 555 Bronzino (Angelo di 
 
 Cosimo). 
 
 556 Florentine School, (Bate 
 
 16th Century). 
 
 aallery Z. 
 
 Portraits of Royal and Eminent Personages. 
 
 No. 
 
 557 Angeli, Heinrich von 
 
 558 I Lawrence, Sir Thomas, 
 
 559 ( P.B.A. 
 
 560 Ramsay, 
 
 561 Reynolds, A | 
 
 No. 
 
 562 Dolci, Carlo 
 
 563 Hoppner, John, R.A. 
 
 564 Sully, Thomas 
 
 565 Sassoferrato, (^Qwvanni 
 
 Battista Salm) 
 
xxii 
 
 OIL PAINTINGS. 
 
 Gallery XX. 
 
 French and British Schools of 19th Century. 
 
 No. 
 
 566 Westall, Richard, R.A. 
 
 567 Papety, Dominique-LouU- 
 
 Fereol 
 
 568 Schopin, s. F. 
 
 569 Saint- Jean, Simon 
 
 570 Vernet, Sorace 
 
 571 Roque plan, Camille^ 
 
 Joseph- MlenTie 
 
 572 Vernet, Horace 
 
 573 Schelfhout, Andreas 
 
 574 Morland, George 
 
 575 Vernet, Horace 
 
 576 Heilbuth, Ferdinand 
 
 577 Vernet, Horace 
 
 No. 
 
 578 Symonds, w. R. 
 
 579 Isabey, Eugene- Gabriel 
 
 580 Gudin, Theodore - Jern - 
 
 Antoine 
 
 58 1 Bellan^e? Joseph - LouU- 
 
 Hxppolyte. 
 
 582 Vernet, Horace 
 
 583 Roquej)lan, CamUie- 
 
 Joseph-EtienTie 
 
 584 ) „ , ^ 
 
 585 \ Horace 
 
 586 Bellange, Joseph - LouU - 
 
 Hxppolyte 
 
 587 Roberts, David, R.A. 
 
 Corridor between Galleries IX and X. 
 
 No. No. 
 
 588 Calame, Alexandre | 589 Landseer, Sir Edwin, R.A. 
 
 Gallery X. 
 
 Fre7ich and British Schools of 19th Century, 
 
 No. 
 
 590 I 
 
 59 1 > Robert, Louis- Lmpold 
 
 592* 
 
 593 Vernet, Horace 
 
 No. 
 
 594 Desportes, Alexandre- 
 
 Franqois 
 
 595 Roque pi a n, CamilU- 
 
 Joseph- Etienne 
 
OIL PAINTINGS. 
 
 xxii 
 
 No. 
 
 596 Delaroche, 
 
 597 Merle, Sugues 
 698 Vernet, Horace 
 
 599 French School (Early 
 
 19th Century). 
 
 600 Papety, Dominique- Louu- 
 
 Feriol 
 
 601 Saint- Jean, Simon 
 
 602 Sant, James, R.A. 
 
 603 Roqueplan, Camille- 
 
 Joseph-Etienne 
 
 604 Delaroche, Pavii 
 
 605 Muller, Charles-Louis 
 
 606 I 
 
 607 [ Vernet, Horace 
 608’ 
 
 609 Roqueplan, Cdmille- 
 
 Joseph- Etienne 
 
 No. 
 
 610 Vernet, Horace 
 
 611 Papety, Dominique -Louit^ 
 
 Fereol 
 
 612 Roqueplan, Camille- 
 
 Joseph- Etienne 
 
 614 1 Horace 
 
 615 Robert, Louis-L^opoid 
 
 616 Scheffer, Ary 
 
 617 Newton, Gilbert Stuart, 
 
 R.A. ’ 
 
 618 Achenbach, Andreas 
 
 619 Vernet, Horace 
 
 620 Bellange, Joseph - Loux* - 
 
 Hippolyte 
 
 621 Pils, Adrien - Auguste - 
 
 Isidore 
 
 622 Verboeckhoven, Eagkm- 
 
 Joseph 
 
 Gallery XI, 
 
 No. 
 
 623] 
 
 624 I 
 
 625 )Oudry, Jean-Baptiste 
 
 626 I 
 
 627 J 
 
 I No. 
 
 628 Desportes, Alexahd'.'3- 
 
 Frangois 
 
 629 j 
 
 630 \ Oudry, Jean-Baptiste 
 
 631* 
 
 Entrance Kail. 
 
 No. 
 
 ! 633 Hilton, William. R.A. 
 
 No. 
 
 632 Morton, Andrew 
 
xxiv 
 
 OIL PAINTINGS. 
 
 Gallery XI. 
 No. 
 
 634 Platzer, or Plazer, Johann Georg 
 
 No. 
 
 635 
 
 636 
 
 Board Boom. 
 [ Teniers, BaciA (the Younger). 
 
 No. 
 
 Gallery XX. 
 
 637 
 
 Teniers, Barld (the Younger). 
 
 
 Board 
 
 Boom. 
 
 No. 
 
 
 No. 
 
 638 
 
 Teniers* BamA (t h e | 
 
 639 Mieris Frans ran (the 
 
 
 Younger), ' 
 
 Younger). 
 
 
 Gallery XX. 
 
 No. 
 
 
 No. 
 
 640 
 
 Berchem, Clo^os Pietersz 1 
 
 641 J ardin, Farei A% 
 
 
 Board 
 
 Boom. 
 
 No. 
 
 
 No. 
 
 642 
 
 Albani, Francesco 
 
 645 French School, (i7tb 
 
 643 
 
 Cagnacci, GuiAo 
 
 Century) 
 
 646 Sassoferrato, (Giovanni 
 
 644 
 
 Guido, (Gruido Reni). 
 
 Battista Salvi) 
 
 Gallery XI. 
 
 No. I No. 
 
 647 Guardi, Francesco 048 (No picture in the collection 
 
 I with this number.) 
 
WATER-COLOURS. 
 
 XXV 
 
 Gallery XXZX. 
 
 Water-colours of British and French Schools, 
 
 No. 
 
 649 Decamps, Alexandre- 
 
 Gabriel 
 
 650 Bellange, Joseph - Louis - 
 
 Wippolyte 
 
 651 Turner, Joseph Mallord 
 
 Wm., R.A. 
 
 652 Roqueplan, Camille- 
 
 Joseph- Etienne 
 
 653 Lami, Louis-E.gene 
 
 654 Turner, Joseph Mallord 
 
 Wm. R.A. 
 
 655 Decamps, Alexandre- 
 
 Gabriel 
 
 656 Bonington, Richard 
 
 Parhes 
 
 657 Decamps, Alexandre- 
 
 Gabriel 
 
 658 Harding, John Duffisid 
 
 659 Roberts, Eavid, R.A. 
 
 660 Decamps, Alexandre- 
 
 Gabriel 
 
 661 Turner, Joseph Mallord 
 
 Wm., R.A. 
 
 662 Roqueplan, Camilie- 
 
 Joseph- Etienne 
 
 663 Lami, Louis-Eug'ene 
 
 664 Turner, Joseph Mallord 
 
 Wm., R.A. 
 
 665 Pils. Adrien - Auguste - 
 
 Isidore 
 
 No. 
 
 
 
 666 
 
 Decamps, Alexandre- 
 
 
 Gabriel 
 
 
 667 
 
 Stanfield, Clarkson, R.A. 
 
 668 
 
 Bonington, 
 
 Richard 
 
 
 Parhes 
 
 
 669 
 
 Winterhalter, 
 
 Frangois- 
 
 
 Xavier . 
 
 
 670 
 
 Decamps, Alexandre- 
 
 
 Gabriel 
 
 
 671 
 
 Bellange, Joseph - Louis - 
 
 
 IRppolyte 
 
 
 672 
 
 Bonington, 
 
 Richard 
 
 
 Parhes 
 
 
 673 
 
 Papety, Eominigue-Louis- 
 
 
 • Fereol 
 
 
 674] 
 
 675 
 
 1 Bonington, 
 
 \ Parhes 
 
 Richard 
 
 676' 
 
 1 
 
 
 677 
 
 Decamps, a lexandre- 
 
 
 Gabriel 
 
 
 678 1 
 
 1 Bonington, 
 
 Richard 
 
 679^ 
 
 < Parhes 
 
 
 680 
 
 Roberts, Ea,vid, 
 
 R.A. 
 
 681 
 
 Cogniet, J^on 
 
 
 682 
 
 Decamps, Alexandre- 
 
 
 Gabriel 
 
 
 683 
 
 Bellange, Joseph - Louis - 
 
 
 Hippolyte 
 
 
 684 
 
 Bonington, 
 
 Richard 
 
 
 Parhes 
 
 
 685 Cogniet, J^on 
 
XXVI 
 
 WATER-COLOURS. 
 
 Gallery XXX. 
 
 Water-colours of British and French Schools, 
 
 No. I 
 
 686 Robert - Fleury, Joseph- j 
 
 Nicolas 
 
 687 Scheffer, 
 
 688 Bonington, Richard 
 
 Parhes 
 
 689 Roberts, David, R.A. 
 
 } Fielding, Copley 
 
 692 Decamps, Alexandre- 
 
 Gabriel 
 
 693 Johannot, Tony 
 
 694 
 
 695 
 
 Harper, Senry A. 
 
 696 Bonington, Richard 
 
 Parlies 
 
 697 Roberts, David, R.A. 
 
 698 Bonington, Richard 
 
 Parhes 
 
 699 Decamps, AUxandre- 
 
 Gabriel 
 
 700 ) Bonin gto n, Richard 
 
 •JIQ2 ) Parhes 
 
 702 Lami, LouU-Eugene 
 
 703 Nesfield, William, Andrews 
 
 704 Bonington, Richard 
 
 Parhes 
 
 705 Bellange, Joseph - Louis - 
 
 EUppolyte 
 
 No. 
 
 706 Decamps, Alexandre- 
 
 Gabriel 
 
 707 Roqueplan, CamilU- 
 
 Joseph-Mienne 
 
 708 Boningto n, Richard 
 
 Parhes 
 
 709 Derby, wunam 
 
 710 Lami, Louis-Eugene 
 
 711 Papety, Dominique - Louis- 
 
 F^eol 
 
 712 Stanfield, Clarhson, R.A. 
 
 713 Derby, William 
 
 714 Boni n g t 0 n Richard 
 
 Parhes 
 
 i^Jg } Fielding, CopUy 
 
 717 Decamps, Alexandre- 
 
 Gabriel 
 
 718 Fielding, Copley 
 
 719 Vernet, Horace 
 
 720 Bellange, Joseph - Louis - 
 
 Hxppolyte 
 
 721 Brascassat, Jacques-Ray- 
 
 mond 
 
 722 Decamps, Alexandre- 
 
 Gabriel 
 
 723 Lami, Louis-j 
 
 724 Vernet, Horace 
 
 725 Derby, William 
 
WATER-COLOURS. 
 
 XXVll 
 
 Corridor between Galleries XX and XXX. 
 
 Water-colours of British and French Schools. 
 
 No. 
 
 726) Bonington, Richard 
 
 727 ^ Parlies 
 
 728 ) 
 
 729 i 
 
 730 Bellange, Joseph - Louis - 
 
 Eippolyte 
 
 731 Raffet, Denis - Auguste - 
 
 Marie 
 
 I Bonin&rton, Richard 
 733 ^ Parhes 
 
 734^ 
 
 735 Delaroche, Paul 
 
 736 Leys, Jean^ Auguste- Henri, 
 
 Baeon 
 
 737 Raffet, Denis - Auguste - 
 
 Marie 
 
 No. 
 
 738 Delaroche, Paul 
 
 739 Johannot, 
 
 741 } Horace 
 
 f 
 
 742 Bellange, Joseph - Louis - 
 
 Hippolyte 
 
 743 Vernet, Horace 
 
 744 ) Raffet, Denis - Auguste - 
 
 745 ) Marie 
 
 746 Callow, William 
 
 747 Raffet, Denis - Auguste - 
 
 Marie 
 
 748 Bellange, Joseph - Louis - 
 
 Hippolyte 
 
 749 )Bonington, Richard 
 
 750 ) Parhes 
 
 Gallery XI. 
 
 No. 
 
 75 n 
 
 752 
 
 753 ‘ 
 754J 
 
 Downman, John, A.R.A, 
 
 No. 
 
 r 
 
 755 Gericault, Jean - Louis ~ 
 Andre- Theodore (removed 
 to Board Room). 
 
 Board Room. 
 
 No. 
 
 756 Ostade, Adriaen ran (after) 
 
xxviii 
 
 WATER-COLOURS. 
 
 G-allery X. 
 
 No. No. 
 
 757 Westall, R.A. i 753 German School, (isth 
 
 I Century), 
 
 Gallery XIX. 
 
 No. 
 
 759 Predis Cristof&ro de I 
 
 Gallery XVXX. 
 
 No. 
 
 [ Saint- Jean, Simon 
 
 Gallery XXX. 
 
 No. 
 
 762 Pollaiuolo, Antonio 
 
 Gallery XX. 
 
 No. 
 
 j Mirbel, Madame de 
 
 Note. — The measurements given throughout the Catalogue are 
 limited to the area enclosed within the frame, and are those 
 known as sigrht-measurements. 
 
CATALOGUE. 
 
 ACKENBACK (Andreas). 
 
 German School. Born at Cassel in 1815. Living Artist. 
 School of Diisseldorf. 
 
 No. 618. The Ehh-Tide. Gallery X. 
 
 1 ft. in. h. by 2 ft. 2| in. w. 
 
 AXiBANZ (Francesco). 
 
 Bolognese School. Born at Bologna in 1578. Died in the 
 same city in 1660. Pupil of Dionysius Calvert, and afterwards 
 of the Carracci Academy in Bologna. 
 
 No. 642. Venus with Cupids. Gallery XI. 
 
 ANG-EZiI (Professor Heinrich von). 
 
 Viennese School. Born at Oedenburg, in Hungary, in 1840. 
 Living Artist. 
 
 No. 557. Portrait of Her Imperial Majesty the 
 
 Empress Frederick. Gallery L 
 
 ft. 3J in, h. by 1 ft. lOJ in. w. 
 
 BACKER (Jacob Adriaensz). 
 
 Dutch School. Born at Harlingen in 1608 or 1609. Died at 
 Amsterdam on the 27th August 1651. Pupil of Lambert Jacobz 
 
2 
 
 BAKHUYSEN— BECCAFUMI. 
 
 at Leeuwarde and afterwards of Rembrandt at Amsterdam, where 
 he worked from 1636 to the date of his death. 
 
 No. 89 . Portrait of an Old Woman. Gallery XVI. 
 
 Formerly, on the evidence of a false signature, ascribed to 
 Rembrandt. 
 
 3 ft. 10| in. h. by 3 ft. 1| in. w. 
 
 BAKKUirSSZ^ (Ludolf). 
 
 Dutch School. Born at Emden on the 18th December, 1631. 
 Died at Amsterdam on the 17th November, 1708. Pupil of Allart 
 van Everdingen and Hendrik Dubbels. Practised at Amsterdam 
 from 1650 onwards. 
 
 No. 244. Sea Piece with Shipping. Gallery XIII. ^ 
 
 ft. 81 in. ^. by 2 ft. 6^ in. w. 
 
 Formerly catalogued in the collection as by r 
 Aalbert Guyp. Cttei/-<i44^ 
 
 No. 248. Shipe in a Storm. „ „ 
 
 1 ft. 8 in. h. by 1 ft. 11^ in. w. 
 
 BECCAFUmi (Domenico). 
 
 Sienese School. Born in the neighbourhood of Siena in 1486. 
 Died in that city in May, 1551. Influenced by Perugino, then by 
 the contemporary Sienese School, and by Michelangelo. 
 
 Beccafumi was one of the foremost Sienese painters of the 
 16th century. He studied the works of Raphael and Michel- 
 angelo in Rome, but worked chiefly in his native city, and there 
 competed with Sodoma and Girolamo del Pacchia. Among 
 the most important of Beccafumi’s later works are the cartoons 
 for a large portion of the marble mosaic pavement of Siena 
 Cathedral, and a vast ceiling in the Palazzo Pubblico of that city. 
 His works are very rare in England. At the National Gallery he 
 is represented by a curious canvas “ Esther before Abasuerus,” and 
 in the collection of Mr. R. H. Benson by two brilliant late pro- 
 ductions “ The Martyrdom of St. Lucy ” and “ The Flight 
 of Clelia.” On the great staircase at the Victoria and 
 Albert Museum are two “Allegorical Figures” attributable to 
 Beccafumi. 
 
 No. 525. Judith with the Head of Holof ernes. Gallery III. 
 
 An early example, painted apparently under the influence of the 
 contemporary Sienese painter, Baldassare PeruzzL 
 
BELLANGE— BERCHEM. 
 
 3 
 
 BXSZiIi ANG>B ( J oseph-Louis-Hippolyte). 
 
 French School. Born in 1800. Died in 1866. 
 No. 581. Crossing the Ford. 
 
 Gallery IX. 
 
 No. 586. A Grenadier. 
 
 No. 620. The Despatch. 
 
 No. 650. The Soldier's Farewell. — Water-colour. 
 7J in. h. by 8f in. w. 
 
 »> M 
 
 „ X. 
 
 „ xxn. 
 
 No. 671. Napoleon at Waterloo. — Water-colour. 
 1 ft. 41 in. h. by 1 ft. 1 in. w. 
 
 >» j> 
 
 No. 683. Napoleon and his Staj^. — Water-colour. 
 1 ft. 31 in. A. by 11 1 in. w. 
 
 » >» 
 
 No. 705. The Farewell. — Water-colour. 
 8f in. h. by in. w. 
 
 „ XXI. 
 
 No. 720. The French at Bruges. — Water-colour. 
 1 ft. I in. h. by 1 ft. 6 in. w. 
 
 )) »J 
 
 No. 730. A Grenadier. — Water-colour. 
 61 in. h. by 5 in. w. 
 
 V 
 
 No. 74:2. Military Courtship. — Water-colour. 
 
 » V 
 
 No. 748. Waterloo. — Water-colour. 
 3 in. h. by 5f in. w. 
 
 » M 
 
 BBBCHEZME (Class Pietessz). 
 
 
 Dutch School. Baptized at Haarlem on the 1st October 1620 
 Died at Amsterdam on the 18 th February, 1683. Pupil first of 
 his father, Pieter Claesz, afterwards of P. de Grebber and J. Wils 
 at Haarlem, and of Nicolas Moyaert and J. B. Weenix at Amster- 
 dam. He probably visited Italy. Domiciled at Haarlem, and 
 afterwards at Amsterdam. 
 
 No. 25. Coast Scene with Figures. 
 2 ft. 8f in. h. by 3 ft. 41 in. w. 
 
 Gallery XVI. 
 
 No. 183. Landscape with Figures. 
 1 ft. 1 in. h. by 1 ft 2| in. w. 
 
 » XIV. 
 
4 
 
 BIANCHI— BOILLY. 
 
 No. 186. Landscape with Cattle. 
 
 1 ft. i in. h. by 1 ft. 5 in. w. 
 
 No. 186. Italian Landscape with Figures. 
 
 1 ft. in. A. by 2 ft. 1 in. w. 
 
 No. 213. Landscape with Equestrian Figures. 
 
 1 ft. 7 in. A. by 1 ft. in. w. 
 
 No. 245. Wooded Basics of a River. 
 
 2 ft. \ in. A. by 1 ft. 6 in. w. 
 
 No. 256. Italian Landscape with Figures. 
 
 2 ft. A. by 2 ft. in. w. 
 
 No. 640. Italian Landscape with Figures. 
 
 1 ft. 1 in. A. by 1 ft. 4 in. w. 
 
 -Ho f^/ 
 
 BZANCKX (Francesco Bianchi Ferrari). 
 
 Modenese School. Born — (?). Died in 1510. This scarce 
 master, whose works have not as yet been definitively classified, has 
 recently been studied in the Archivio Storico dell’ Arte by 
 the Italian critic, Commendatore Adolfo Yenturi. Bianchi’s 
 last and best authenticated work is “ The Annunciation ” in the 
 Estense Gallery at Modena, once ascribed to Francesco Francia. 
 Another characteristic work is the altarpiece “ The Yirgin and 
 Child with St. Jerome and St. Sebastian ” in S. Pietro at 
 Modena, formerly ascribed to Pellegrino Munari. Also ascribed 
 to Bianchi, but differing appreciably from these works in 
 general style and in the facial type of the figures, is the. important 
 “ Virgin and Child between Saints” of the Louvre. 
 
 No. 2. Allegorical Subject, with Nude Figures in a 
 
 Landscape. Gallery XVI. 
 
 2 ft. 3 in. A. by 1 ft. 8 in. w. 
 
 Probably a late work of the master, since it resembles in many 
 particulars the two works firstly above referred to. 
 
 BOZXiXiY' (Louis-LioFOLD). 
 
 French School. Born at La Bass4e, near Lille, in 1761. Pupil 
 of hia father. Died at Paris in 1845, at the age of 84. His 
 earlier genre pieces illustrate the trsmsition between the 18th and 
 
 Gallery XIV. 
 
 XIII. 
 
 XI 
 
BOL— BONHEUR. 
 
 5 
 
 the 19th centuries, and are still coloured by the peculiar senti- 
 mentality of the former period. He was a naive and sympathetic 
 observer of contemporary types and manners. The most remark- 
 able collection of Boilly’s works is that in the Museum at 
 Lille. Characteristic paintings by him are to be found also in 
 the Louvre, and in the collections of many Parisian amateurs. 
 
 No. 435. The Dead Mouse. Gallery XIX. 
 
 1 ft, 3i in. h. by 1 ft. w. 
 
 No. 473. The Visit. „ XX. 
 
 1 ft. in. h. by 1 ft. 9 in. t«. 
 
 No. 479. The Sorrows of Love. „ „ 
 
 1 ft. 6^ in. h. by 1 ft. 9 in. w. 
 
 BOXi (Ferdinand). 
 
 Dutch School. Born at Dordrecht in June, 1616. Buried at 
 Amsterdam on the 24th July, 1680. Bol was one of the most 
 prominent and successful among the pupils of Rembrandt. In 
 his later years he to some extent emancipated himself from this 
 influence, and adopted a more colourless and conventional style. 
 Bol established himself at Amsterdam before 1640. 
 
 No. 74. The Toper. Gallery XVI. 
 
 2 ft. 11 in. h. by 2 ft. 8| in. w. 
 
 A vigorous work in the Rembrandtesque manner. 
 
 BOBKEUXl (Marie-Rosa). 
 
 French School. Born at Bordeaux on the 22nd March, 1822. 
 Died at By on the 26th May, 1899. Pupil of her father and 
 of L^on Cogniet. Rosa Bonheur is the most popular and various 
 painter of animals of the modern French School, and her vogne 
 has been even greater in England than in her native country. As 
 an artist she cannot be placed in the category which includes such 
 masters as Brascassat and Troyon. Among her most important 
 and successful works of large dimensions are to be counted 
 “ The Horse Fair ” (Metropolitan Museum of New York) ; “ Le 
 Labourage Nivernais” (Luxembourg) ; and ‘‘La Fenaison.” 
 
 1+283— (W.C.) 
 
 C 
 
1 
 
 6 
 
 BONINGTON. 
 
 No. 260. A Waggon and Team of Horsen. Gallery XV, 
 
 1 ft. 1 in. h. by 2 ft. w. 
 
 No. 364. Sheep. 
 
 1 ft. 6| in. h. by 2 ft. in. w. 
 
 No. 365. A Shepherd's Dog. .. 
 
 1 ft. 5 1 in. h. by 1 ft. 2\ in. w. 
 
 //iJ No. 372. Roe-deer. 
 
 7 in. h. by 9| in. to /f y A. 
 
 BONZNGtTON (Richard Parkes). 
 
 British School. Born at Arnold, near Nottingham, on the 25th 
 October, 1801. Bonington went to Paris at the age of fifteen, 
 and studied in the Louvre. He was a student at the !^cole des 
 Beaux- Arts and in the atelier of Baron Gros, and thus belongs, 
 by training, more to the French than to the British School. He 
 visited Italy, and worked especially at Venice. Bonington died 
 in London on the 23rd September, 1828, before he had completed 
 his twenty-seventh year. There was an interchange of infiuence 
 between the English painter and Delacroix, arising naturally out 
 of their friendship and personal intercourse. The Wallace Collec- 
 tion contains the most complete series of his works, both in oils 
 and water-colours. He is represented in the National Gallery, the 
 Victoria and Albert Museum, the Louvre, and in private 
 collections, both in England and France. 
 
 No. 270. A Child at Prayers. Gallery XV. 
 
 1 ft. If in. h. by 10 in. w. 
 
 No. 273. A Sea Piece. „ 
 
 1 ft. 9f in. h. by 2 ft. 8J in. w. 
 
 No. 319. Bergues, near Dunhirh. ., „ 
 
 1 ft. li in. h. by 9f in. w. 
 
 Engraved in the annual, “ The Gem,” for 1831, 
 by W. J. Cook, as “ La Tour du Marche at 
 “ Bergues. near Dunkirk, on the River Colme,” 
 
 (Canal de la Colme). 
 
 i 
 

 BONINGTON. 
 
 No. 322 . Francis I. and Marguerite de Navarre. Gallery XV. 
 
 The Valois king has Just inscribed on the d/aJcic 
 window-pane the famous verse ; ^ oM/i/J. /U^ 
 
 “ Souvent femme varie, Bien f ol qui s’y fie.” ^ ^ ' 
 
 1 ft. 6 in. h. by 1 ft. in. w. 
 
 No. 323 . Henri III. and the English Amhassador. „ 
 
 1 ft. 9 in. h. by 2 ft. in. w. 
 
 No. 333 . Anne Page and Slender. 1^>Juc/<cul ^ S ho 
 
 1 ft. 6| in. h. by 1 ft. 2^ in. w. 0. ^<T. h. ^ J, al 
 
 No. 339 . The Seine near Rouen. 
 
 1 ft. h. by 1 ft. 6^ in. %o. 
 
 No. 341 . A Coast Scene. 
 
 1 ft. 2 in. h. by 1 ft. 7| in. w. 
 
 No. 351 . Henri TV. and the Spanish Anibassador.^ciy^lJoic^ oU. 
 
 1 ft. 3 in. h. by 1 ft. 7f in. to. 
 
 From the San Don^tto Collection. /J ~ : <J. 
 
 _?V d . 0^0 j d'O K /id 'i ~ e-.^ C ^ — > >a J 
 
 No. 362 . A Rustic Scene. -<jr/. ihe: 
 
 1 ft. 7f in. h. by 2 ft. 2| in. to. 
 
 No. 376 . The Piazza San Marco, Venice , 
 
 3 ft. 2f in. h. by 2 ft. 7 in. to. 
 
 No. 656 . The Doge's Palace, Venice. — Water- 
 colour. „ XXII. 
 
 No. 668. Reading Aloud . — Water-colour. 
 
 No. 672 . The Gold Weigher . — Water-colour. 
 
 No. 674 . A Venetian Scene . — Water-colour./^*^^ 
 
 No. 675 . The Earl of Surrey and the fair Geraldine. ^^7^ ^ 
 
 — Water-colour. 
 
 No. 676 . Lady and Page. — Water-colour. . ,, 
 
 No. 678 . The Letter. — Water-colour. .. ,, 
 
 No. 679 . Lady at her Toilet . — Water-colour. 
 
 No. 684 . The Piazzetta, Venice. — Water-colour. ,, ,, 
 
 No. 688. Souvenir of Van Dyck. — Water-cclour. „ XXI. 
 
 1 4283— (W.C.) * C 2 
 
8 
 
 BOTH. 
 
 No. 696. 
 
 No. 698. 
 No. 700. 
 No. 701. 
 
 The Great Staircase in a French Chdteau. 
 — Water-colour. 
 
 Gallery XXI. 
 
 Old Man and CMt^.—Watei -colour ^ 
 Fishing Boats. — Water-colour^<^^5^W'^?^^/:^^ 
 
 The Leaning Towers^ Bologna. — Water- . 
 colour. qJ 
 
 'luc(/(e^ 
 
 No. 704. Rouen. — Water-colour. „ 
 
 No. 708. Sunset in the Pays de Caux. — Water- 
 colour. „ ,, 
 
 No. 714. The Church of Sant' Amhrogio^ Milan. 
 
 — Water-colour. „ „ 
 
 No. 726. A Balcony Scene. — Water-colour. „ 
 
 No. 727. Death of Leonardo da Vinci. — Water- 
 
 colour. „ „ 
 
 No. 732. Lady and Cavalier. — Water-colour, d 
 
 No. 733. Henri IV. and the Spanish Ambassador 
 (repetition on a smaller scale of 
 No. 351) — Water-colour. „ ,, 
 
 No. 734. An Water-colour. 4 4^ - J- 
 
 No. 749. Medora. — Water-colour. 4 // „ „ 
 
 No. 750. Turh in Repose. — Water-colour. „ „ 
 
 BOTH (Johannes, or Jan). 
 
 Dutch School. Born in 1610, at Utrecht. Died in that city on 
 the 9th August, 1652. Pupil of Abraham Blomaert, and, later on, 
 in Rome, influenced by Claude Lorrain. Practised chiefly at 
 Utrecht, with the exception of a few years devoted to travel in 
 TfnW The figures in his landscapes were usually by his brother 
 Andries. 
 
 No. 24. Italian Landscape with Cattle. 
 
 2 ft. 8| in. h. by 3 ft. 7^ in. w. 
 
 Gallery XVI. 
 
BOUCHER. 
 
 9 
 
 No. 28. Italian Landscape with Figures. Gallery XVI. 
 
 2 ft. in. h. by 3 ft. 6 in. w. 
 
 No. 198. Italian Coast Scene. „ XIV. 
 
 1 ft. 61 in. h. by 2 ft. If in. w. 
 
 BOUCHER (FRANgois). 
 
 French School. Born at Paris in 1704 ; died there in 1770. 
 Pupil of Francois Le Moine, and influenced also in some degree 
 by Watteau, a number of whose paintings and drawings he 
 etched, at the request of M. de Julienne, for the sumptuous 
 volumes which the latter devoted to the reproduction of his dead 
 friend’s works. Boucher, unable to secure the Prix de Rome, 
 nevertheless made the journey to Italy on his own account in the 
 company of Carle van Loo. He returned to Paris in 1731, and on 
 the 30th January, 1734, was received at the Academie Royale, on 
 presentation of the picture “ Rinaldo and Armida ” which is now 
 in the Louvre. Boucher, who had meanwhile carried off in 
 succession all the Academic and official distinctions within reach of 
 the court painter, succeeded Carle van Loo in 1765 as premier 
 paintre du roi, and became also Director of the Academy and 
 Inspector of the Tapestry Manufactory of Beauvais. This was 
 the climax of a career which was in a great measure shaped by the 
 patronage of the Marquise de Pompadour, who introduced Boucher 
 and his work at the Court of Louis XV., placed his “ Forges de 
 “Vulcain” in the private room of the monarch at Marly, pur- 
 chased, among many other things, the famous “ Lever du Soleil ” 
 and “ Coucher du Soleil ” now in this collection, and promoted his 
 interests in every way. The painter was not only the protege 
 but the intimate companion of Madame de Pompadour, and with 
 him she discussed, not only all matters connected with art and 
 virtuosity, but her tastes and her plans generally. He initiated the 
 royal favourite into the mysteries of etching, and superintended 
 the publication of a volume which appeared in her name with 
 a series of etched plates after the engraved stones of Guay, 
 “ Graveur du Roy.” Her protection established him in a position 
 so commanding that the royal favour was continued even after 
 her death, and endured indeed to the termination of the popular 
 master’s career. Boucher, though he was essentially by inclination 
 a man of pleasure, was the hardest and most assiduous of workers, 
 
10 
 
 BOUCHER. 
 
 devoting ten hours a day to painting and drawing, and producing 
 thus an incredible mass of work, of which a large proportion was 
 necessarily hasty and perfunctory. He was the typical painter- 
 decorator of the Louis Quinze period, which he did so much to 
 shape in art, and of which his style was a perfect embodiment,, 
 both in its brilliant attractiveness and its superficiality. To be 
 judged fairly, his gay, daring, and singularly skilful performances 
 — mainly, it should be remembered, decorative in intention — 
 must be taken not alone, but, as they are seen in the Wallace 
 Collection, in conjunction with the furniture, the tapestries, the 
 bronzes, the porcelain, and objects of art of his time. In his most 
 typical productions Boucher is, what the decorator of great spaces 
 should be, a colourist not so much subtle and profound as frank, 
 brilliant, and fresh to the point of crudeness — a designer of 
 astonishing freedom, variety, and inventiveness. At his best he 
 must be deemed one of the most brilliant and accomplished 
 executants of the eighteenth century ; and, more than this, in his 
 merits as in his faults, one of the most characteristically French 
 among the French masters. Even at his worst he cannot be said 
 to deserve the unmeasured strictures of Diderot, who from the 
 point of view of the moralist rather than that of the art-critic, 
 covered his conceptions, his works, and his person with ridicule 
 and contempt. And yet the same famous writer, in the earlier 
 stages of Greuze’s career, could find nothing but praise for the 
 sentimental morality, the false modesty, and false sensibility of 
 that accomplished yet much overrated master, whose work is full 
 of suggestiveness and arriere-pensee^ whereas that of Boucher is 
 redeemed by the perfect frankness of the effort to amuse the eye 
 and appeal to the senses. 
 
 No gallery — not even the Louvre itself — can vie with the 
 Wallace Collection in the number and importance of its 
 Bouchers. The Swedish National Gallery at Stockholm is 
 one of the best endowed of the European Galleries outside 
 France. It contains the famous “ Naissance et Triomphe de 
 Venus,” and several other fine examples of the master. Besides 
 the Louvre, the museums of Angers, Nancy, and Tours contain 
 notable canvases from his hand. The four dessus de porte painted 
 for the Hotel de Soubise (now Palais des Archives Nationales) 
 are celebrated. Among the private collections containing fine 
 Bouchers may be particularly mentioned that of Baron Edmond 
 de Rothschild, in Paris, and those of Miss Alice de Rothschild and 
 Mr. Alfred de Rothschild, in England. 
 
 Gallery XYIH. 
 
 No. 385 , Shepherd Watching a Sleeping Shep- 
 herdess. 
 
 3 ft. 6J in. h. by 6 ft. f in. w. 
 die Oyuld //if 
 
 
 
 
 
BOUCHER. 
 
 11 
 
 No. 390. The Modiste. (“ La Marchande de 
 
 Modes.”) Gallery XVIII. 
 
 2 ft. i in. h. by 1 ft. 8 in. w. 
 
 Engraved by Gaillard. 
 
 A larger version of this subject, from the hand 
 of Boucher, dated 1746, is in the National 
 Museum at Stockholm. 
 
 No. 399. Shepherd Piping to a Shepherdess. 
 3 ft. I in. h. by 4 ft. 74 in. v). 
 
 No. 411 . Venus and Cupid with Doves. 
 
 2 ft, 74 in. h. by 4 ft. 6 in. w. 
 
 No. 418. Portrait of the Marguise de Pompadour. 
 
 ft. 24 in. w. ^ /— 
 
 eezz^ iLti/oLc/e- ^Urh 
 
 2 ft. 104 in. h. by 2 ft. 
 
 This picture was in 1782 in the sale of 
 collection of the Marquis de Marigny, brother 
 of Madame de Pompadour, who became after- 
 wards Marquis de Menars. It was on that 
 occasion purchased for the very small sum of 
 154 livres by the Due de Chaulnes, who had 
 been engaged to Alexandrine, daughter 
 Madame de Pompadour. ^ 
 
 
 
 The marble group in the background suggests j /- t ^ ^ " 
 
 the impetuous advances of young Love, acceptedr ^ 
 
 yet moderated by a discreet Nymph. Other 
 portraits of Madame de Pompadour from 
 the same hand, but of wholly different com- 
 position, are in the collection of Miss Alice de 
 tlothschild, in the National Gallery of Scotland, 
 in the Jones Bequest Gallery at the Victoria 
 and Albert Museum, and in the collection of 
 Baron Alphonse de Rothschild. 
 
 No. 423. Sea Nymph with Cupids cteo ^ 
 
 2 ft. 7| in. h. by 4 ft. 5| in. w. S^- / aQ. /r<^ y/ 
 
 
 No. 429. The Visit of Venus to Vulcan. ,, XIX, 
 
 5 ft. 44 in. h. by 2 ft. 8^ in. w. 
 
 No. 431. Shepherd and Shepherdess Reposing. „ „ 
 
 2 ft. 6^ in. h. by 1 ft. 11| in. w. 
 
12 
 
 BOUCHER. 
 
 No. 432. Cupid a Captive. Gallery X.1X. 
 
 5 ft. 4^ in. h. by 2 ft. 8^ in. w. 
 
 No. 433. The Triumph of Amphitriie. „ „ 
 
 2 ft. in. h. by 3 ft. 11 in. w. 
 
 No. 438. Venus and Mars surprised hy Vulcan. „ „ 
 
 6 ft. 4^ in. h. by 2 ft. 8| in. w. 
 
 No. 444. The Judgment of PariSn „ „ 
 
 6 ft. 4^ in. h. by 2 ft. 8| in. w. 
 
 This canvas, together with Nos. 429, 432, and 
 438, formed part of one and the same scheme of 
 decoration, the four pieces being destined for a 
 boudoir. They were painted by Boucher in 1754, 
 and^were acquired by the Marquis of Hertford at 
 the Prousteau-Montlouis sale in 1851. 
 
 No. 445. Shepherdesses with Sporting Loves. „ ,, 
 
 3 ft; J in. h. by 4 ft. | in. w. 
 
 ‘‘.No. 446. Jove, in the shape of Diana, surprises 
 
 ^ Calisto. — Oval. „ 
 
 6 ft. If in. h. by 4 ft. If in. w. 
 
 Y Engraved by Gaillard. A smaller picture hy 
 Boucher of the same subject entitled “Jupiter 
 transform^ en Diane pour surprendre Calisto ” 
 was[at the Salon of the Louvre in 1765. 
 
 No. 447. Shepherdesses with Sporting Loves. „ „ 
 
 3 ft. f in. h. by 4 ft. | in. w. 
 
 No. 471. A Group of Lovers. „ „ 
 
 2 ft. 3i in. h. by 3 ft. 6 in. w. 
 
 No. 481. Nymph and Cupids with Musical 
 
 Emblems. Great Stauca^e. 
 
 3 ft. 3 in. h. by 4 ft. 8| in. w. 
 
 No. 482. A Pastoral (Autumn). „ „ 
 
 8 ft. 6^ in. h. by 6 ft. 5f in. w. 
 
 
No. 485. The Rising of the Sun. °^'' 
 
 10 ft. 4i in. A. by 8 ft. 8i in. M). 
 
 Originally designed for the Manufacture Royale des Goielins 
 and destined to be executed in tapestry by Cozette and Audran. 
 Exhibited at the Salon in 1753, and there purchased by the 
 Marquise de Pompadour. Edmond and Jules de Goncourt, in 
 “ L’Art du Dixhuitieme Siecle — Premiere Serie,” say of this 
 picture and No. 486 : “ Elies (ces deux pages) sont le plus grand 
 “ effort du peintre, les deux grandes machines de son Oeuvre.” 
 
 In the catalogue of Madame de Pompadour’s paintings and 
 drawings prepared for the sale of her collection in 1766, the expert 
 writes of these pictures : “ J’ai entendu plusieurs fois dire par 
 “ I’auteur qu’ils etaient du nombre de ceux dont il etait le plus 
 “ satisfait.” The two great canvases were then sold for 9800 
 livres, and acquired by M. de Saincy. 
 
 No. 48S. The Setting of the Sun. Great Staircase. 
 
 10 ft. 6^ in. h, by 8 ft. 6 in. lu. 
 
 Same description as No. 485, to which it con- 
 stitutes a pendant. 
 
 No. 489. A Pastoral (Summer). „ 
 
 8 ft. 6^ in. h. by 6 ft. 5^^ in. w. 
 
 No. 490. Nymph and Cupid with Musical 
 
 Emblems, „ 
 
 3 ft. 2^ in. h. by 4 ft. 9 in. w. 
 
 BOURSSE (Esaias). 
 
 Dutch School. Born at Amsterdam on the 3rd March, 1631. 
 Died at sea on the 16th November, 1672. Boursse is known to have 
 practised his art in Amsterdam from 1656 to 1672. He made 
 several journeys to the East Indies in the service of the East Indian 
 Company. In the month of October, 1672, he started for the 
 Indies on the ship “ Beenen,” but died on the 16th November, 
 1672, at sea. He is known to have visited Italy and painted there. 
 His productions, however, as we know them at present, show abso- 
 lutely no traces of Italian influence. The style of this very rare 
 and highly accomplished master exhibits some affinity to that of 
 Pieter de Hooch and J. Koedyck, and reveals, like the work of 
 those masters, the influence of Rembrandt, though none of the three 
 
 if ^ ^ 
 
 / Great Staircase. 
 
14 
 
 BKAMANTINO. 
 
 can properly be said to belong to his immediate school. There are-^ 
 paintings by Boursse in the Ryks-Museum at Amsterdam, in the 
 Berlin Gallery, and in the Suermondt Museum at Aix-la-Chapelle. 
 Dr. A. Bredius, of the Hague, has recently discovered at Warsaw two> 
 unsigned, but in his opinion authentic, works from his brush. 
 
 No. 166. Interior: Woman Cooking. Gallery XIV. 
 
 Signed “ L. (E.) Boursse, 1656.” 
 
 1 ft. 8 in. h. by 1 ft. 10| in. w. 
 
 From the Roell-Hodshon sale at Amsterdam, in 1872. Price- 
 6000 gulden. 
 
 BRABIANTZNO (Bartolommeo Suardi, called 
 Bramantino). 
 
 Lombard School. Born at Milan (?), about 1450 ; died after 1526. 
 The pupil first of Vincenzo Foppa, then of the great architect and . 
 painter, Bramante, from the connection with whom he acquired 
 the name of Bramantino. He occupied an important position in 
 Milanese art after the departure of Leonardo da Vinci in 1499,. 
 and influenced both Luini and Gaudenzio Ferrari. In 1506 
 Bramantino was called to Rome, and he there painted with 
 Sodoma, in the Stanza della Segnatura of the Vatican, fresco 
 decorations, which were destroyed by order of Julius II. in order 
 to make room for those of Raphael. Bramantino’s chief works in 
 oils and fresco are still to be found at Milan, and chiefly in the 
 Brera, the Gallery of the Ambrosiana Library, and the Museunr 
 of the Gastello there. An admirable “ Adoration of the Magi ” is 
 in Lady Layard’s collection at Venice, and will ultimately find a 
 place in the National Gallery, which at present contains no example- 
 from his hand. 
 
 No. 537. Head of a Girl. — Fresco. Gallery III.. 
 
 1 ft. 6f in. h. by 1 ft. 2 in. w. 
 
 No. 538. The Youthjul Gian Galeazzo Sforza 
 
 reading Cicero. — Fresco. „ „ 
 
 3 ft. I in. h. by 4 ft. 2| in. w. 
 
 Reproduced in Eugene Muntz’s “ Leonardo da Vinci ” as by 
 Vincenzo Foppa. This fresco appears to have originally adorned 
 the frieze in the Cortile of the Palazzo del Banco Mediceo, erected, 
 from the designs of Michelozzo in the Via de’ Bossi at Milan, but 
 now no longer in existence. It came last from the collection of 
 Vicomte de Tauzia in Paris. 
 
BRASCASSAT— BROUWER. 
 
 15 
 
 BRASCASSAT (Jacques-Raymond). 
 
 Born at Bordeaux in 1804 ; died at Paris in 1867. He studied 
 chiefly at the Ecole des Beaux- Arts in Paris. This painter practised 
 landscape and historical subjects, but excelled chiefly in the 
 representation of animals. 
 
 No. 363. Goat and Kid, Gallery XV. 
 
 1 ft. 2| in. h. by 1 ft. 5| in. w. 
 
 No. 721. Dogs Attacking a Wolf. — Water-colour. „ XXI. 
 
 1 ft. 41 in. h. by 1 ft. in. /O. 
 
 <Z 6^/^ _ /f^ _ 
 
 BRONZINO (Angelo di Cosimo, called 
 Bronzino). 
 
 Florentine School. Born at Monticelli, near Florence, in 
 1502. Died at Florence, on the 23rd November, 1572. Pupil of 
 Raffaellino del Garbo and Jacopo da Pontormo, and influenced by 
 Michelangelo. He practised in Florence, chiefly as a portrait painter. 
 As such he is, notwithstanding the sculptural hardness of his style, 
 the greatest artist produced by Florence during the 16th century, 
 with the exception of Andrea del Sarto, whose comparatively few 
 portraits are among his finest productions. 
 
 No. 655. Portrait of Eleonora di Toledo^ Grand 
 
 Duchess of Florence. Gallery III. 
 
 2 ft. 6^ in. h. by 1 ft. 11^ in. w. 
 
 Numerous repetitions exist of this picture and of its pendant, 
 the portrait of the Grand Duke Cosimo I. of Florence. 
 
 BROUWER (Adriaen). 
 
 Dutch-Flemish School. Born in 1605 or 1606, at Oudenarde. 
 Buried at Antwerp, on the 1st February, 1638. Pupil of Frans 
 Hals at Haarlem ; painted at Amsterdam, Haarlem, and after 1631 
 at Antwerp. Brouwer in the passion and vigour of his realism, 
 as well as in the subtlety of his art, more than rivalled his con- 
 temporary, David Teniers, the Younger. By far the most impor- 
 tant collection of his works is to be found in the Alte Pinakothek 
 
16 
 
 CAGNACCI— CALLOW. 
 
 at Munich. The Dulwich College Gallery possesses a fine example. 
 There is another in the lonides Collection bequeathed to the 
 Victoria and Albert Museum. Brouwer is as yet unrepresented in 
 the National Gallery. 
 
 No. 211. A Boor Asleep. Gallery XIII. 
 
 1 ft. 2 in. h. by 10^ in. w. 
 
 CAGNACCI (Guido). 
 
 Bolognese School. Born at Castel Sant- Arcangelo, near 
 Rimini, in 1601. Died at Vienna in 1681. Pupil of Guido Reni, 
 at Bologna, and afterwards Court Painter of the Emperor 
 Leopold I. at Venice. 
 
 No. 643. Tarquinius and Lucretia, Board Room, 
 
 in. h. by 11| in. w. 
 
 This is the copy, on a much reduced scale, of the well-known 
 picture by Cagnacci in the Accademia di San Luca ^t Rome. 
 The Dresden Gallery possesses a copy on the scale of the original, 
 and also a once popular “Magdalen” doubtfully attributed to 
 him. In the Imperial Gallery at Vienna are two signed pictures 
 by him, “ Cleopatra ” and “ St. Jerome.” 
 
 CAZiABIB (Alexandre). 
 
 Swiss School. Born at Vevey, in Switzerland, in 1817. Died at 
 Mentone in 1864. Pupil of Diday. Calame is represented in the 
 Museum at B^le. ^ 
 
 / y ^ 
 
 No. 588. A Waterfall in Switzerland.. ^ Gallm’y IX. 
 
 2 ft. 7^ in. h. by 2 ft. 1 in. lo. SO •>< 
 
 CAIiXiOW (William). 
 
 British School. Born at Greenwich on the 28th July 1812. 
 
 No. 746. Entering the Harbour. — Water-colour. Gallery XXI. 
 
CAMPHUYSEN— CANALETTO. 
 
 17 
 
 CAIUEPKVVSEN (Goyert). 
 
 Dutch School. Born at Gorkum in 1623 or 1624. Buried at 
 Amsterdam on the 4th July, 1672. Probably the pupil of his 
 elder brother Raphael Camphuysen, by whom there are in the 
 Dresden Gallery two moonlight pieces, one of which is signed 
 “ R. Camphuysen.” Go vert Camphuysen was manifestly influenced 
 by Paul Potter. He worked up to 1651 in Amsterdam ; then 
 from 1653 to 1663 in Stockholm as court-painter of King Charles X. 
 and the Queen Dowager, Marie-Eleonore ; then again in Amster- 
 dam. A large landscape with figures and cattle, by him is in the 
 Cassel Gallery, where it was formerly ascribed to Paul Potter. 
 In the Hermitage at St. Petersburg are three examples of Govert 
 Camphuysen, of which two bear his signature, while the third 
 has a false signature of Paul Potter. 
 
 No. 132. A Dutch Farm at Sunset, Gallery XV-II. 
 
 2 ft. 8f in. h. by 3 ft. 8J in. w. 
 
 Signed, on a fence to the left, “ G. Camphuysen.” 
 
 CANAZiETTO (Giovanni Antonio da Canale, called 
 Canaletto). 
 
 Venetian School, 18th Century. Born at Venice on the 18th 
 October, 1697 ; died there on the 20th April, 1768. Pupil of his 
 father, the decorative painter, Bernardo da Canale, and further 
 developed during a sojourn in Rome. A remarkable “ View of 
 the Capitol and the Church of Ara Coeli,” by him, is in the 
 collection of Lord Leconfield. He practised chiefly at Venice, 
 but in the years 1746 and 1747 was in London. Besides 
 his nephew and pupil, the noted painter Bernardo Bellotto, 
 Canaletto had a number of followers and imitators, whose works 
 have hitherto been classed under his name. The majority of 
 the works here set down to him for the sake of convenience cannot 
 be reckoned as more than school pieces. The most authentic 
 example of his art in the Wallace Collection is No. 498. 
 
 No. 492. View of the Grand Canal. Gallery XII. 
 
 1 ft. 6^ in. h. by 2 ft. 7 in. w. 
 
 No. 493. Panorama of the Harhour of Malta, with 
 
 Fortified Islands (?). „ „ 
 
 School of Canaletto. 
 
 3 ft. 5 in. h. by 6 ft. 9 in. w. 
 
18 
 
 CANALETTO. 
 
 No. 495. Church of Santa Maria della Salute. 
 
 1 ft. 6^ in. h. by 2 ft. 6f in. w. 
 
 No. 496. A FSte on the Grand Canal. 
 
 1 ft. lOJ in. Ti. by 3 ft. ^ in. w. 
 
 No. 497. The Giud,ecca with the Doge's Palace. 
 
 4 ft. 1^ in. h. by 6 ft. 2^ in. w. 
 
 No. 498. The Grand Canal with the Church of S. 
 Simeone. 
 
 3 ft. J in. h. by 4 ft. 9| in. w. 
 
 No. 499. The Giudecca with the Church of S, 
 Giorgio Maggiore. 
 
 4 ft. IJ in. h. by 6 ft. 2^ in. w. 
 
 No. 500. A FHe on the Piazzetta. 
 
 School of Canaletto. 
 
 1 ft. 10^ in. h. by 3 ft. \ in. w. 
 
 No. 501. Old Northumberland House, Charing 
 Cross. 
 
 School of Canaletto. 
 
 2 ft. 3^ in. h. by 3 ft. 7^ in. w. 
 
 No. 505. The Piazza San Marco with the 
 Campanile. 
 
 1 ft. 10^ in. h. by 4 ft. in. w. 
 
 No. 506. View of the Grand Canal. 
 
 1 ft. in. h. by 2 ft. 5| in. w. 
 
 No. 507. A Canal in Venice. 
 
 1 ft. 10 J in. h. by 3 ft. | in. w. 
 
 No. 509. The Doge's Palace and Riva dei 
 Schiavoni. 
 
 1 ft. lOf in. h. by 3 ft. J in. w. 
 
 No. 510. V iew of the Grand Canal. 
 
 1 ft. in. h. by 2 ft. 6^ in. w. 
 
 Callery XII. 
 
 
 Board Room. 
 
 Gallery XII. 
 
 V n 
 
CANO. 
 
 ID 
 
 No. 511. The Rialto. Gallery XTT. 
 
 1 ft. 10| in. h. by 3 ft. J in. w. 
 
 No. 512. The Grand Canal with Palazzo Corner 
 
 della Cd Grande. „ 
 
 1 ft. 6| in. h. by 2 ft. 7 in. w. 
 
 No. 513. Water Fete from the Riva del Schiavoni. „ ,, 
 
 School of Canaletto. 
 
 1 ft. 8f in. h. by 2 ft. 8 in. w. 
 
 No. 514. The Doge's Palace. „ „ 
 
 1 ft. 8 in. h. by 2 ft. 3 in. w. 
 
 No. 515. The Dogana from the Molo. ,, ,, 
 
 I ft. in. h. by 2 ft. 6| in. w. 
 
 No. 516. Santa Marie della Saluta from the 
 
 Piazzetta. „ „ 
 
 1 ft. 11 in. h. by 3 ft. i in. w. 
 
 CANO (Alonso). 
 
 Spanish School. Born at Granada in Spain on the 19th March, 
 1601. Died in the same city on the 5th October, 1667. He 
 distinguished himself as painter, sculptor, and architect. Studied 
 painting under Francesco Pacheco and Juan de Castillo at Seville, 
 and sculpture under Juan Martinez Montafies. He practised at 
 Seville, Madrid, and Granada, and in the last-named place founded 
 a school. The most important example of his art to be found in 
 England is a large altar-piece, “ The Assumption of the Virgin,” 
 in the collection of Sir Francis Cook at Richmond. A curious 
 piece of his late time is the large “ Adam and Eve after the Fall,” 
 in the collection of Sir John Stirling Maxwell. 
 
 No. 15. The Vision of St. John the Evangelist. Gallery XVI. 
 
 2 ft. 8J in. h. by 1 ft. 6 in. w. 
 
 This is an example in the earlier and more characteristic manner 
 of the master. 
 
20 
 
 CHAMPAIGNE— CHARLIER. 
 
 CKAMPAZGNE (Philippe de). 
 
 Flemi&h School. Born at Brussels in 1602. Died at Paris in 
 1674. He came to Paris in 1621, and so completely acclimatised' 
 himself in France that he would perhaps be more correctly 
 described as belonging to the French than the Flemish School. 
 He became the accredited painter of Port Royal and the 
 Jansenists, of many among whom he has left invaluable portraits. 
 In sacred and historical art he is frigidly correct and conscientious, 
 but he attains to a very high degree of merit as a portrait 
 painter ; and here, in the gravity and intensity of his characteri- 
 sation, he still reveals his Flemish origin. 
 
 No. 119. The Marriage of the Virgin. Gallery XYII. 
 
 2 ft. 2f in. h. by 4 ft. 8 in. w. 
 
 No. 127- Portrait of a French Ecclesiastic, 
 
 (^sometimes called “ Finelon, after- 
 wards Archbishop of Oambrai ’'). „ ,, 
 
 2 ft. 4 in. A. by 1 ft. 10|^ in. w. 
 
 The most authentic portrait of Fenelon — 
 the one by Joseph Vivien, which is No. 1,356 in 
 the Alte Pinakothek, of Munich — does not agree 
 with this portrait in form or feature. Another 
 authentic likeness of the Archbishop, agreeing 
 exactly in type and characterization with the 
 Munich example, is in the collection of the Rev. 
 
 Richard Hugh Cholmondeley. Yet another 
 authentic likeness, by or after Vivien, is among 
 the pictures at Buckingham Palace. 
 
 No. 129. The Adoration of the Shepherds. „ ,, 
 
 7 ft. 6f in. h. by 6 ft. 3 in. w. 
 
 No. 134. The Annunciation. „ ,, 
 
 10 ft. lOf in. h. by 7 ft. w. 
 
 CKARIiZZSR. 
 
 French School. A French miniature painter, who practised in 
 the second half of the eighteenth century, and is supposed to 
 have been a pupil of Boucher. 
 
CIMA. 
 
 21 
 
 474 . Nymphs and Cupids (Gouache after Boucher). Gallery XX. 
 9 in. h. by 6| in. w. 
 
 475. Thi>. Birth of Venus (Gouache after Bcmcher). 
 
 ? ft. .3 in. h. by 1 ft. 7| in. iv. 
 
 476. Thfl. Judgment of Paris (Gouache after 
 
 Boucher). „ 
 
 9 in. h. by 6| in. w. 
 
 CZmA (Giovanni Battista, called Cima da Conegliano). 
 
 Venetian School. Year of birth unknown ; that of death 
 believed to be about 1517. He practised at Venice and in the 
 Venetian territory. Cima, though he issued from the elder 
 school of Venice, at the head of which were the Vivarini, was 
 greatly influenced by Giovanni Bellini. He cannot, however, be 
 deemed to have been actually a pupil or even a slavish imitator of 
 that great master. In his earlier and more severe productions, such 
 as the “ St. John the Baptist with Saints ” (1489) in the Madonna 
 del Orto at Venice, the influence of his elder contemporary, 
 Bartolommeo Montagna, makes itself felt. His chief works are 
 to be found in the churches and the Accademia delle Belle Arti 
 of Venice, in the Brera at Milan, and in the Gallery of Parma. 
 The Berlin Gallery, the National Gallery, the Louvre, the Dresden, 
 Munich, Vienna, Vicenza, and Modena Galleries, and the church at 
 Conegliano also contain examples of his art. 
 
 No. 1 , St. Catharine of Alexandria. Gallery XVL 
 
 4 ft. 11^ in. h. by 2 ft. 5^ in. w. 
 
 This great panel is one of the most important examples of the 
 Venetian master to be found in England. According to informa- 
 tion kindly furnished by Dr. G. Ludwig, it is the central portion 
 of an altarpiece once in the church of S. Rocco in Mestre, near 
 Venice. There was recently discovered by him in the Albertina 
 at Vienna a print of the last century, showing the original 
 arangement. The wings, on which are depicted the two saints 
 invoked against the plague, St. Sebastian and St. Roch, are now 
 in the museum of Strassburg. The lunette, “ The Virgin and 
 Child between St. Dominic and St. Francis,” is in the collection 
 of Mr. John Edward Taylor, of Kensington Palace Gardens. 
 
 14283— (W.C.) 
 
 D 
 
CLAUDE LORRAIN— CLOUET. 
 
 CXiAUDE ZiORRAXN (Claude Gell^e, called Claude 
 Lorrain or LE Lorrain). 
 
 French School. Born at Chamagne in Lorraine in 1600. Died 
 at Rome on the 21st November, 1682. The pnpil in Rome of 
 Agostino Tassi, and through him influenced by the Carracci and 
 Paul Bril, but still more by the imaginative Italo - German 
 landscapist Adam Elsheimer. He practised chiefly in Rome. 
 
 The style of poetic and idealised landscape painting which he 
 invented and brought to perfection has never lost its hold on the 
 world. The greatest modern artists, and among them Turner and 
 Corot, have come under his influence. Characteristic examples 
 of his art are to be found at the Doria Palace at Rome, in the 
 Louvre, the Prado Gallery of Madrid the Dresden, Berlin, and 
 Munich Galleries. Some of his best works are in England, in 
 the National Gallery, in the Bridgewater Gallery, at Grosvenor 
 House, and in the collections of the Earl of Radnor, Lord Lecon- 
 neld, and Lord Wantage. The Liher Studiorum^ a portfolio, or 
 book, of landscape drawings preserved — or, as the case may be, 
 specially prepared — by the master as authenticating records of 
 pictures painted by him, and of their purchasers, is in the 
 collection of the Duke of Devonshire at Chatsworth. a ^ 
 
 Italian Landscape . GaUery XVII. , ‘ 
 2 ft. 6 in. h. by 2 ft. 7i in. 
 
 Oe. CeiGT : /. ^ 
 
 No. 125. Coast Scene with Classic Buildings. „ „ 
 
 1 ft. 4^ in. h. by 1 ft. 9 in. ^ ^ 
 
 CZtOVBT (School of the). 
 
 The two chief painters of this group were Jean Clouet (called 
 Jehannet or Janet), who died in 1540 or 1541, and his more 
 celebrated son, Francois Clouet, who was born in 1510 and died 
 in 1572. They evolved out of the Flemish method and tradition 
 a genuinely French style in portraiture. By the former may be 
 cited the “ Eleonore d'Autriche, Second Consort of Fran9ois I.,” 
 at Hampton Court ; by the latter, the large full length “ Charles 
 IX.” in the Vienna Gallery, the “ Elisabeth d’Autriche ” and 
 “ Charles IX.” in the Louvre, and a little panel, “ Portrait of 
 a young Prince,” in the Antwerp Gallery. A large group of 
 anonymous portrait painters and copyists flourished round these 
 
OOGNIET. 
 
 23 
 
 two masters and their contemporary, Corneille de Lyon, who was 
 also of Netherlandish origin, but represented ^ somewhat different 
 phase of French portraiture. The latter is best to be studied in 
 the Museum of Versailles. 
 
 No. 530. Queen Mary Stuart (“ Le Deuil Blanc ”). Gallery III. 
 
 1 ft. IJ in. h. by 9| in. w. 
 
 After Francois Clouet. The original picture — 
 itself not an undoubted Clouet — is in the collection 
 of His Majesty the King. A replica is in that of 
 Mrs. Alfred Morrison. 
 
 No. 532. Portrait of the Earl of Hertford. „ „ 
 
 in. A. by 5 1 in. v). 
 
 Style of Francois Clouet. There exist repetitions 
 of this portrait in the Louvre and elsewhere. 
 
 No. 551. Portrait of Francis I. „ „ 
 
 6| in. by 6| in. w. 
 
 School of Jean Clouet, called Jehannet. 
 
 CO&NIBT (Leon). 
 
 Modern French School. Born at Paris in 1794; died there in 
 1880. A pupil of Guerin, the pseudo-classic master, who was 
 himself a disciple of David. He afterwards painted military and 
 romantic subjects, and acquired great reputation as a teacher, 
 among his pupils being Robert-Fleury and Meissonier. Cogniet’s 
 portrait, in extreme old age — a fine work by his pupil, M Bonnat — 
 ia in the Luxembourg. 
 
 No. 279. Rebecca and Sir Brian de Bois Guilbert. Gallery XV. 
 2 ft. 10^ in. h. by 3 ft. 9^ in. w. 
 
 No. 681. The Defence of Paris : 1814. — Water-colour. „ XXII. 
 
 »> o 
 
 D 2 
 
 No. 685. The Retreat from Moscow. — Water-colour. 
 14283 -(W.C.) 
 
^4 
 
 COOPER— COQUES. 
 
 COOPEXl (Thomas Sidney), R.A. 
 
 British School. Born at Canterbury on 26th September,. 
 1803, and died on the 7th February, 1902. He studied animal 
 painting in the Netherlands, whence, after a residence of some 
 years, he was driven back to England by the Belgian revolu- 
 tion. He was elected an A.R.A. in 1845 and an R.A. in 1867. 
 His career has been one of well-nigh unexampled duration and 
 industry. 
 
 No. 309. Cattle. Gallery XV. 
 
 2 ft. 6 in. h. by 2 ft. 6 in. w. 
 
 COQUES (Gonzales Coques or Cockx). 
 
 Flemish School. Born at Antwerp in 1618. Died there on the 
 18th April, 1684. A pupil of Pieter Breughel, the younger, and' 
 of the second David Ryckaert, who afterwards became his 
 father-in-law. Gonzales Coques was often, by reason of his 
 popularity as a painter of portraits on a small scale, called 
 “the small Van Dyck.” Allowing for the difference in scale, he 
 shows, indeed, much of that master’s skill and authority in 
 portraiture, without, however, save on rare occasions, approaching 
 his exquisite distinction. Perhaps the most perfect piece of this 
 class is the small full-length “ Portrait of a (Spanish Gentleman ” at 
 Dorchester House. In 1641 he was elected a member of the 
 Guild of St. Luke, at Antwerp, and, in 1664, he became the 
 president of that Guild. He worked for tlie Princes of Orange, 
 for Charles I. of England, the Elector of Brandenburg, the 
 Archduke Leopold, and other distinguished patrons. At the 
 Chateau of Honslaerdyck, which now no longer exists, was, in 
 the last century, to be found a series of life-size compositions by 
 Gonzales Coques, with The History of Cupid and Pysche. This 
 was a commission from the Stadhouder, Prince Frederick-Henry. 
 (Catalogue Raisonne du Musee Royal de Ja Haye, 1895.) 
 
 No. 92. A Family Group. Gallery XVI. 
 
 3 ft. 9| in. h. by 5 ft. 8J in. w. 
 
 No. 162. A Family Group. ,, XIV. 
 
 1 ft. 6| in. h. by 1 ft. Ilf in. w. 
 
 No. 223. A Family Group. 
 
 1 ft. in. h. by 2 ft. 4 in. vo. 
 
 xm. 
 
COROT— COUTURE. 
 
 25 
 
 COROT (Jean-Baptiste-Camille). 
 
 Krciich School. Born in Paris on the 20th July, 1796 ; died 
 there in 1875. Pupil of Michallon and Victor Bertin. Corot, 
 following in the footsteps of the great French landscape painters 
 of the seventeenth century, went to Rome in 1826. His art, with 
 its subtle and entirely personal mode of expression, only by 
 degrees won acceptance in France, and his European fame dates 
 from the last period of his career. Corot’s style naturally 
 combines a classic rhythm and harmony, and a perfect felicity 
 in selection and generalisation, with the most profound and loving 
 study of nature. Though he is generally, for the sake of con- 
 venience, classed with the so-called Barbizon School, he stands prac- 
 tically alone in modern French art. The picture in the Wallace 
 Collection is at present the only one from his brush to be found in a 
 national museum in the United Kingdom. The Municipal Gallery 
 of Glasgow possesses, however, a fine example of his mature style. 
 The Victoria and Albert Museum will, with the lonides Collection, 
 enter into possession of canvases by Corot and Jean-Fran 9 ois 
 Millet among other modern French masters. 
 
 No. 281. Macbeth and the Witches. '^^‘*** ^ Gallery XV. 
 
 French School. Born at Senlis in France in 1815. Died in 1879. 
 The pupil of Gros and Paul Delaroche. He won his first ana 
 greatest success with the well-known “ Decadence des Roinains,” 
 painted when he was thirty-two years of age, and novy in the 
 Louvre. This success was never increased, or even maintained, 
 in later years. Couture’s atelier was much frequented by 
 students, especially by foreigners. 
 
 No. 262. The Young Drummer. Gallery XV. 
 
 10 in. h. by 8 in. v). 
 
 No. 265. Timon of Athens. „ 
 
 71 in. h. by 91 in. w. 
 
 3 ft. in. h. by 4 ft. 4| in. w. 
 
 COUTURS (Thomas). 
 
26 
 
 CRIYELLI— CUYP. 
 
 No. 288. Harlequin and Pierrot. Gallery XV. 
 
 4| in. h. by 6 in. w. 
 
 No. 340 . A Roman Feast. „ „ 
 
 1 ft. 2| in. h. by 1 ft. 5| in. w. 
 
 This picture contains a reminiscence of the artist’s 
 “ Decadence des Remains,” above mentioned. 
 
 No. 370 . The Duel. „ „ 
 
 9 in. h. by 7| in. w. 
 
 This picture, though in composition it is quite different, and 
 represents a different moment in the dramatic action, bears 
 a striking family resemblance to Gerome’s more celebrated 
 rendering of a similar subject, nowj in the Musee Conde at 
 Chantilly. 
 
 CRZVZSXiZiX (Carlo). 
 
 Venetian School. Born in the Venetian territory about 1430. 
 Died after 1493. Crivelli issued, in all probability, from the 
 School of Murano, but was in his earlier time strongly influenced 
 by that of Padua. The latter half of the fifteenth century shows 
 no art more intense in conviction than that of Crivelli or more 
 brilliantly decorative after its peculiar fashion ; but also none 
 more mannered and excessive in its mode of expression. His 
 finest works are to be found scattered through the Marches of 
 Ancona, in the Brera Gallery at Milan, and in the National 
 Gallery. 
 
 No. 527. SU Roch. Gallery III. 
 
 1 ft. 6 in. h. by 44 in. w. 
 
 This small panel must have formed part of a triptych or 
 polyptych. It is in the artist’s finest style and shows strong traces 
 of Paduan influence, though the colour is deeper and more glowing 
 than that of any artist issuing direct from the school of Squarcione. 
 
 CtnrP (Aelbert). 
 
 Dutch School. Born in October 1620 at Dordrecht ; buried 
 there on the 7th November, 1691. Pupil of his father Jacob* 
 
CUYP. 
 
 27 
 
 Gerritsz Cuyp and strongly influenced by Jan van Goyen. H© 
 lived and practised at Dordrecht, different aspects of which 
 picturesque town, all of them crowned by the thickset church- 
 tower which asserts itself from every point of view, continually 
 reappear in his river scenes. Cuyp’s masterly treatment, in 
 landscape, of veiled sunlight and the golden glow of afternoon 
 and evening is too well known from familiar examples to 
 need new praise. He also painted horses and cattle, and on 
 occasion still-life, interiors, and portraits. The finest specimens 
 of his art are to be met with in England, and especially in the 
 Royal Collections, at Bridgewater House, Dorchester House, 
 Waddesdon Manor, in the National Gallery, the Wallace Collec- 
 tion, the Dulwich Gallery, and the Collections of the Duke of 
 Bedford, Earl Brownlow, Lord Leconfield, and Mr. Alfred de 
 Rothschild. 
 
 No. 49. River Scene with Shipping. Gallery XYI. 
 
 3 ft. 2 in. h. by 4 ft. 10| in. w. 
 
 No. 51. Landscape with an Avenue „ „ 
 
 3 ft, 3^ in. h. by 3 ft. 2\ in. w. 
 
 No. 54. River Scene with Shipping and Figures. „ „ 
 
 2 ft. 3f in. h. by 2 ft. 11 in. w. 
 
 No. 138. River Scene with View of Dort. „ XYII. 
 
 3 ft. 3^ in. h. by 4 ft. 5^ in. w. 
 
 No. 172. River Scene with Horsemen. „ XIY. 
 
 1 ft. 3 in. h. by 1 ft, 9 in. w. 
 
 No. 180. Cattle. 
 
 1 ft. 1^ in. h. by 1 ft. 8^ in. w. 
 
 No. 228. Halting at an Inn. 
 
 1 ft. 3 in. h. by 1 ft. 11 in. w. 
 
 No. 232. Horses tied to a Tree. 
 
 1 ft. in. h. by 1 ft. 9^ in. w. 
 
 No. 250. Boy holding a Horse. 
 
 1 ft. 3^ ia. h. by 1 ft. w. 
 
 
 „ XIII. 
 
 
 5 >» 
 
28 
 
 DECAMPS. 
 
 No. 263. Horsemen in a Landscape. Gallery XIIE. 
 
 1 ft. 1 in. Ji. by 11 in, w. 
 
 No. 255. A Shepherd with his Flock. „ „ 
 
 1 ft. li in. A. by 1 1 in. w. 
 
 DSCAMPS (Alexandre-Gabriel). 
 
 French School. Born in Paris on the 3rd March, 1803. Died 
 at Fontaine on the 22nd August, 1860. Pupil of Abel de Pujol. 
 He travelled in the South of France and Italy, and subsequently 
 in the Bast. Decamps belonged to the Romantic School, and was 
 among the most renowned of the French Orientalist painters. He 
 combines poetic fervour and a true sense of the mystery and 
 splendour of the East with great truthfulness and variety of observa- 
 tion. Especially remarkable is his treatment of local Oriental 
 character, and his interpretation of the phenomena of light and 
 shadow at every moment of the day from dawn to sunset. The 
 collection of paintings and water-colours by Decamps in the 
 Wallace Collection is the finest and most numerous in existence. 
 It is approached only by that of the Musee Conde at Chantilly. 
 
 No. 259. Arabs Reposing. ' Tallery XY. 
 
 1 ft. i in. h. by 1 ft. 6 in. w. 
 
 No. 261. The Finding of Moses. „ „ 
 
 11^ in. h. by 1 ft. 6 in. lo. 
 
 No. 263. A Well in the East. 
 
 1 ft. h. by 1 ft. 4 in. w. 
 
 No. 267> The Villa Doria-Panfili at Rome. 
 1 ft. i in. h. by 1 ft. 3| in. w. 
 
 \ \ 
 
 No. 269. The Bookworm. ,, „ 
 
 in. h. by 10 in. w. 
 
 No. 292. The Roman Campagna. „ 
 
 9f in. h. by 1 ft. 3f in. w. 
 
 ■htOL^e. cJ' A. ^io-lOjoK. ~ O.o^y ~ n A 
 
 
DECAMPS. 
 
 No. 294. The Miraculous Draught of Fishes. Gallery 
 
 10| in. h. by 1 ft. 6 in. w. X *5^^ of 
 
 ' No. 296 Arabs Halting. „ 
 
 Ilf in. h. by 1 ft. 4 in. w. 
 
 No. 302. Mules at Boulac. „ 
 
 1 ft. 4^ in. h. by 2 ft. in. w. 
 
 ^ No. 305. The Watering Place (“ L’Abreuvoir ”). „ 
 
 2 ft. 6i in. h. by 3 ft. 9J in. lo. 
 
 29 
 
 Gallery XV. / 
 n3 
 
 No. 307. The Night Watch (“ La Ronde de Nuit ”). 
 
 3 ft. in. h. by 6 ft. 10 in. w, 
 
 ' No. 318. Eastern Women at a Well. h./6 iTeWliStcma 
 
 1 ft. in. h, by 1 ft. 4^ in. w. 
 
 No. 345. The Punishment of the Hooks (“ Le 
 
 Supplice des Crochets”). „ 
 
 2 ft. 11| in. h. by 4 ft. 6| in. w. 
 
 * No. 350. The Witches in Macbeth." l/^ / F 
 
 11 1 in. h. by 1 ft. 3| in. to. oM. 
 
 <' No. 353. The Anchorage of Smyrna (‘‘ La Rade de 
 
 Smyrne”). „ 
 
 1 ft. 6 in. h. by 2 ft. 2 in. w. 
 
 No. 649. The Favourite of the Pacha . — Water- 
 colour. , XXII. 
 
 1 ft. \ in. h. by 10 in. to. 
 
 No. 655. Children Gathering Flowers.— W’dXev 
 
 colour. , 
 
 lOf in. h. by 81 in. to. 
 
 No. 657. The Interior of the Hareem . — Water- 
 colour. „ „ 
 
 9 1 in. h. by in. to. 
 
 No. 660. An Albanian Sentinel . — Water-colour „ „ 
 
 11 1 in. h. by 9^ in. to. 
 
30 
 
 DELACROIX. 
 
 No. 666. An Algerian TFomaw.— Water-colour. Oallery XXII.. 
 
 1 ft. in. A. by 1 ft. 2 in. wi. //^ J 
 
 No. 670. A Court of Justice in Turhey. — Water- ^ 
 
 colour. 
 
 Hi in. h, by 1 ft. 6^ w. 
 
 No. 677- On the Roof of an Oriental House.— 
 
 Water-colour. ouAef^ <J. 
 
 8f in. h, by 9 in. ^ 
 
 No. 682. Crossing the River. — Water-colour. cLe.W^t4«A<4^- <^c^jvauL, 
 1 ft. i in. h. by 1 ft. 6 in. w. M 
 
 cuM,(J&uA,(U t' Ohe^ -f./Jl'koM - iJ-boo^ i ^cL cKc/cHfxjL _ 
 
 No. 692. Released from School (“ La Sortie de 
 
 I’Ecole Turque”).— Water-colour. „ XXi.. 
 
 1 ft. 11 in. h. by 2 ft. 7\ in. w 
 
 No. 699. Albanians. — Water-colour. 
 
 10 in. h, by ?i w. 
 
 No. 706. Arabs Fording a River (‘‘ Le Passage 
 du Gue”)* — -Water-colour. 
 
 1 ft. 7 in. h. by 2 ft. 9 in. w. 
 
 No. 717- Cart Horses. — Water-colour. 
 
 8i in. h. by 1 ft. i in. w. 
 
 No. 722. The Watering Place. — Water-colour. 
 
 1 ft. i in. /%-. by 10 in. w. 
 
 XM:Xail.CB.OXX (Ferdinand-Yictor -Eugene) 
 
 French School. Born at Charenton -Saint-Maurice on the 26th 
 April, 1798. Died at Paris in 1863. The pupil of Guerin, of 
 whose artificial style he soon became intolerant. Making a 
 
 great success at the Salon, first with “ La Barque de Dante,” in 
 1822, then with the “ Massacre de Scio,” in 1824, Delacroix 
 came by degrees to be regarded as the leader of the Romantic 
 painters, whose aim was the substitution of colour, life, and 
 
DELAROCHE. 
 
 31 
 
 poetry for the frigid Graeco -Roman classicality of David’s School. 
 Ingres, who sought above all to revive the traditions of Raphael 
 and the Cinquecento, and to express classicality of a truer and more 
 suave type, was the great rival and detractor of the Romantic 
 painter. Delacroix’s most important works are in the Louvre, the 
 Salon du Roi of the Palais Bourbon, the Library of the Luxem- 
 bourg, the Church of Saint-Sulpice in Paris, the Mus4e Conde at 
 Chantilly, the provincial musuems of France, and this collection. 
 Among the finest productions of the artist outside the Louvre 
 may be mentioned the “ Medee” at Lille, the “ Deux Foscari ” at 
 Chantilly, the “ Marc Aurele mourant ” at Lyons, the “ Triomphe 
 de Trajan” at Rouen, and the “ Boissy d’ Anglas a la Convention 
 at Bordeaux. Exceedingly few paintings by this master are to be 
 found in England. Delacroix also lithographed subjects from 
 Shakespeare’s “ Hamlet ” and Goethe’s “ Faust.” 
 
 No. 282. The Execution of the Doge^ Marino Faliero. Gallery XY. 
 
 4 ft. 9| in. h. by 3 ft. 8f in. w. 
 
 Exhibited at the Salon of 1827. F rom the collection 
 of M. Isaac Pereire, of Paris. 
 
 No. 324;. Faust and Mephistopheles. ,f „ 
 
 1 ft. 5f in. h. by 1 ft. in. w. 
 
 This same composition was lithographed by Delacroix for the 
 series from Goethe’s “Faust,” above mentioned. It is there 
 rendered with a higher dramatic intensity. 
 
 D&IiAZlOCKS (Hippolyte, called Paul). 
 
 French School. Born at Paris on the 17th July, 1797. Died in 
 that city on the 4th November, 1856. Pupil of Gros. He formed 
 a style midway between the tempered classicism and suave 
 Italianism of Ingres and the fiery romanticism of Delacroix, his 
 success in the domain of Romantic art being at first much less 
 contested than that of the latter. Delaroche exercised a great 
 influence over modern art, and inaugurated the style of artificial 
 stage-dramatic representation in painting which obtained for many 
 years all over Europe. His chief work is the elaborate “ H4micycle ” 
 at the Ecole des Beaux Arts of Paris. The most important 
 examples of his art in England are the “ Charles I. insulted 
 “ by the Parliamentary Soldiers,” at Bridgewater House, and the 
 ** Strafford going to the Scaffold,” at Stafford House. 
 
32 
 
 DELAROCHE. 
 
 No. 276. Edward V. and the Duke of York in the 
 
 Tower (“Les Enfants d’ Edouard”). Gallery XY. 
 1 ft. in. A. by 1 ft. 8 in. w. 
 
 A reduced version of the picture in the Louvre. 
 
 No. 286. The Virgin and Child ( “ La Yierge au 
 
 “Lezard”). ' „ „ 
 
 4 ft. in, Jh, by 2 ft. 10 in. w. 
 
 No. 300. Joan of Arc in Prison. „ ,, 
 
 1 ft. 5^ in. h. by 1 ft. in, w. 
 
 No, 311. The Temptation of St. Anthony. „ „ 
 
 7| in, h, by in. w. 
 
 No, 314. Cardinal Mazarines Last Sickness (painted 
 
 in 1830). ,, „ 
 
 1 ft. 101 in. Th, by 3 ft. 2 in, w. 
 
 No. 320. The State Barge of Cardinal Richelieu on 
 the Rhone. 
 
 1 ft. 101 ill* ^* hy 3 ft, 2 in. w. 
 
 No. 355. A Mother and Children. ,, „ 
 
 61 in. A. by 61 in. w. 
 
 No. 358. A Child Learning to Read „ , 
 
 5| in. h. by 5| in. 
 
 No. 596. The Saviour on the Steps of the Temple. Gallery X. 
 
 Apparently the design for a monumental 
 composition on a large scale. 
 
 71 in. Th. by 1 ft. 4 in. w. 
 
 No. 604. Joan of Arc in Prison (smaller version). „ 
 
 81 in. h, by 7 in. to. 
 
 No. 735. The Alchymist. — Water-colour. „ XXI. 
 
 No. 738. Death of the Due de Guise. „ „ 
 
 A smaller version in water-colours of the oil painting now in 
 the Mus4e Cond6 at Chantilly. 
 
DERBY— DESPORTES. 
 
 :5a 
 
 DERBV (William). 
 
 British School. Born at Birmingham in 1786 ; died in 1847. 
 He first studied under J. Barber, who was chiefly a portrait and 
 miniature painter, and came to London in 1806. Derby copied 
 with great skill paintings in the Stafford Gallery, and made draw- 
 ings for “ Lodge’s Portraits of Illustrious Personages.” He also 
 executed, as a commission from the Earl of Derby, portraits of 
 the house of Stanley from the reign of Henry VIII. 
 
 No. 709. Portrait of the Duke of Wellington. 
 
 (after Sir Thomas Lawrence). Gallery XXI. 
 
 7 in. h. by 5| in. w. 
 
 No. 713. Portrait of Sarah Jennings^ Duchess of 
 Marlborough (after Sir Godfrey 
 Kneller?). „ „ 
 
 7 in. h. by 5| in. to. 
 
 No. 725. Portrait of Lady Lyndhurst (after 
 
 Sir Thomas Lawrence). „ „ 
 
 10 J in. A. by 8J in. w. 
 
 DESPORTES (ALEXANDRE-FBANgOIS). 
 
 French School. Born at Champigneul, in Champagne, on the 
 24th February, 1661. Died at Paris, on the 15th April, 1743. 
 Pupil of an obscure Fleming, Nicasius. He first established 
 himself at Warsaw, and painted Johann Sobieski, King of Poland, 
 and his Court : then returned to France and obtained the highest 
 success at the Court of Louis XIV. He was received at the 
 Academie Royale de Peinture on the 1st August, 1699. Desportes 
 excelled chiefly in the rendering of domestic and wild animals, of 
 landscape, fruit and flowers. He practised also as a portrait 
 painter, an important example of his capacity in this branch being 
 his own portrait in shooting costume, painted for the Academie 
 Royal as his morceau de recejotion, and now in the Louvre. -t:. - \ 
 
 No. 594. DogSf Dead Game^ and Fruit. Gallery X. 
 
 4 ft. 2\ in. h, by 6 ft. 3J in. w. 
 
 No. 628. Classic Rums with Flowers and Dead 
 Game. 
 
 4 ft. in. h. by 5 ft. 3| in. w. 
 
 u 
 
 XI. 
 
DIAZ—DOLCI. 
 
 ‘M 
 
 DSAZ (Narcisse-Yirgilb Diaz de la Pena). 
 
 French School. Born at Bordeaux in 1808 ; died in 1876. He 
 was to a great extent self-taught, the influences which chiefly 
 dominated him being that of Delacroix in figure painting, and 
 that of Theodore Rousseau in landscape. Diaz became a 
 prominent member of the so-called Barbizon School of landscape, 
 and lived in close companionship and sympathy with Jean- 
 Fran9ois Millet and Rousseau. Though he repeated himself some- 
 what too much in his Fontainebleau forest scenes, he is at his 
 best one of the most powerful and pathetic landscape painters of 
 the middle of the century. 
 
 No. 266. Venus disarming Cupid, Gallery XV. 
 
 7 in. A. by 4^ in. w. 
 
 No. 268. The Education of Cupid. „ „ 
 
 7 in. h. by 4| in. w. 
 
 No. 312. A Fountain at Constantinople. „ „ 
 
 11 in. h.hj 1 ft. 4 in. w. 
 
 ov ' -'-A . . ^ X . : , 
 
 BXETRZCIZ (Christian Wilhelm Ernst). 
 
 German School. Born at Weimar on the 30th October, 1712. 
 Died at Dresden on the 23rd Anril, 1774. Pupil of the landscape 
 painter Alexander Thiele. Dietrich played a great part at Dresden. 
 He became Court Painter, then Inspector of the Gallery, lat^ 
 Director of the Manufactory of Porcelain, and finally Professor at 
 the Academy. He was chiefly remarkable for his imitations of 
 Rembrandt and other old masters. From his hand is “ The 
 “ Itinerant Musicians,” No. 205 in the National Gallery. 
 
 No. 153. The Circumcision, Gallery XIV. 
 
 1 ft. 3 in. h. by 1 ft. 7J in. to. 
 
 DOXiCZ (Carlo). 
 
 Florenijine School of 17th century. Born at Florence on the 
 25th May, 1616 ; died there on the 17th January, 1686. Pupil of 
 
DOMENICHINO— DOU, 
 
 as 
 
 Jacopo Yignali. Dolci painted in a smooth and self-conscious style, 
 which, applied as it was to artificial conceptions, peculiarly of 
 his own time in their calculated sweetness and superficial assumption 
 of spirituality, won for him at the time great renown. His repu- 
 tation has, during the course of this century, steadily declined. 
 
 No. 562. A Saint Reading . — School of Carlo Dolci. Gallery I. 
 2 ft. 5f in. h, by 3 ft. 6 in. w. 
 
 DOMSNZCKZNO (Domenico Zampieri, called 
 Domenichino). 
 
 Bolognese School. Born at Bologna on the 21st October, 1581. 
 Died at Naples on the 15th April, 1641. Pupil first of Dionysius 
 Calvert and afterwards of the Carracci. Domenichino counts as 
 one of the chief painters of the Carracci group, among his most 
 important works being “ The Communion of St. Jerome,” in the 
 Pinacotheca of the Vatican ; “ Diana and her Nymphs,” in the 
 Borghese Gallery ; and the decoration of the Gappella del Tesoro, 
 in the Cathedral of Naples. During the execution of this last 
 task he was persistently persecuted and threatened by the 
 notorious triumvirate known as the “ Cabal of Naples.” He died 
 there, not without suspicion of poison. 
 
 No. 131. A Sibyl Gallery XVII. 
 
 2 ft. 5^ in. h. by 2 ft. 2J in. to. 
 
 DOU (Gerard). 
 
 Dutch School. Born at Leyden on the 7th April, 1613 ; buried 
 there on the 9th February, 1675. Pupil of his father, the glass- 
 painter, then of Bartholomeus Dolendo, and others ; afterwards 
 the pupil and companion of the youthful Rembrandt (1628-1631). 
 Dou is celebrated for the extraordinary finish of his execution, 
 combined nevertheless, in his finer work, with a certain vigour of 
 accent which his pupils did not possess in the same degree. The 
 school of which he was the acknowledged head included such 
 painters as Frans van Mieris, Slingelandt, Schalcken, De Pape, 
 
DOWNMAN— DROST. 
 
 ne 
 
 and Yan Staveren. Recently (1901) Dr. W. Martin, of the Hague, 
 has published a detailed biography of this master with a catalogue 
 raisonne of his works. 
 
 'So. 1*!0. A Hermit Gallery XT T. 
 
 1 ft, A. by 9 in. w. 
 
 No. 177. A Hermit at Prayer. „ ,, 
 
 1 ft. 3 in. A. by 11 in. to 
 
 DOWNMAN (John), A.R.A. 
 
 British School. Born in Devonshire in the middle of the J 8th 
 century, the exact date being unknown. Died at Wrexham, in 
 Denbighshire, on the 24th December, 1824. He studied under 
 Benjamin West, and in the Schools of the Royal Academy, of 
 which he became an Associate in 1795. He practised successively 
 at Cambridge, London, Plymouth, Exeter, Chester, and at Wrex- 
 ham, where he died. Downman, although, like many of his 
 contemporaries, he attempted subjects coming within the category 
 of what was called “high art,” is now chiefly known by his skilful 
 and charming portraits in crayons, slightly heightened with colour, 
 of the class to which the four examples in this collection belong. 
 In these he shows something of the charm and distinction which 
 mark the portraits of Sir Joshua Reynolds, by whose art be was 
 no doubt greatly influenced. 
 
 No. 751. Portrait of a Young Lady. 
 
 No. 762. Portrait of a Child. 
 
 No. 753. Portrait of a Young Lady. 
 
 No. 764. Portrait of a Young Lady. 
 
 Gallery XI. 
 
 V M 
 
 DROST (CORNELIS). 
 
 Dutch School. Years of birth and death unknown. Pupil of 
 Rembrandt towards the year 1638. Later on he is said to have 
 visited Italy and to have had close relations in Rome with J an van 
 
DUPRE— DYCK. 
 
 37 
 
 der Meer of Utrecht and Karel Loth. There exists considerable 
 confusion as to the works set down in the name of this painter. 
 In the Ryks-Museum at Amsterdam a large canvas “ Herodias 
 receiving the Head of St. John the Baptist” is catalogued in 
 the name of Drost ; but this picture is by some critics ascribed to 
 the scarce Karel Fabritius. In the Picture Gallery at Cassel is 
 a “ Noli Me Tangere ” signed Drost. f.” In the Dresden 
 Gallery a “ Mercury putting Argus to Sleep ” is catalogued as by 
 Jacob van Dorsten, who may prove to be indentical with Drost. 
 
 A “Bathsheba,” signed by Cornelis Drost, is now in the 
 Musuem of the Louvre. 
 
 No. 61 . Portrait of a Young Woman. Gallery XYI. 
 
 2 ft. } in. h. by 1 ft. 7\ in. w. 
 
 The attribution is in this instance confirmed by marked 
 analogies of style with the signed work in the Louvre. 
 
 Bought in May 1872, for £100, from M. Nieuwenhuys. 
 
 DUPRE (Jules). 
 
 French School. Born at Nantes in 1812. Died at LTsle-Adam in 
 October 1889. Inspired by the works of Ruysdael and Hobbema, 
 and also by Constable. He became one of the most remarkable land- 
 scape painters of the so-called Romantic School, which applied 
 itself to the truthful and poetic interpretation of Nature in 
 her more familiar aspects. 
 
 No. 299 . Crossing the Bridge. 
 
 1 ft. 7 in. h. by 2 ft. 11 in. w. 
 
 This example bears the date 
 the painter. 
 
 DUCK (Sir Anthony van). 
 
 Flemish School. Born at Antwerp on the 22nd March, 1599. 
 Died in London on the 9th December, 1641, and was buried in 
 Old St. Paul’s Cathedral. Pupil first of Hendrik van Balen, then 
 for four years the assistant of Rubens. Van Dyck in 1620-1621 
 resided for some months in England, and received a salary of 
 £100 as painter to King James I. On the advice of Rubens 
 
 14283— (W.O.) B 
 
 Gallery XV. 
 1838, and shows the earlier style of 
 
DYCK. 
 
 38 
 
 he went to Italy in 1621, or as some hold a couple of years later, 
 and worked much at Genoa, Rome, and Yenice, returning to 
 Antwerp some time previous to 1628. He then established 
 himself again there, painting a whole series of vast sacred 
 works for the churches of Flanders, and also a long succession 
 of portraits. In 1632 Yan Dyck, at the express desire of 
 Charles I., established himself definitively in England, and he 
 was immediately appointed Principal Painter in Ordinary to their 
 Majesties. He remained domiciled in England down to the date 
 of his death, in 1641, but returned temporarily to Antwerp in 1634. 
 In 1639 or 1640, urged thereto by the King, he married Mary 
 Ruthven, granddaughter of William Ruthven, Earl of Cowrie. 
 Yan Dyck’s career as a painter may be roughly divided into four 
 periods : — The first years of youthful striving and success at 
 Antwerp ; the years of work and wandering in Italy, which have 
 as their outcome the Genoese or, more properly, the Italian style ; 
 the second Flemish manner ; and the English manner. Included 
 in this last period is another subsection, comprising the group of 
 magnificent works produced during the master’s visit to Antwerp 
 in 1634. These are in the English style, yet they stand by them- 
 selves in virtue of a marked superiority, both in conception and 
 execution, over the English portraits of the same late time. 
 
 The European collections most richly endowed with the works 
 of Yan Dyck are the Alte Pinakothek at Munich, the Louvre, the 
 Hermitage at St. Petersburg, the Imperial Gallery at Yienna, the 
 Cassel Gallery, the Berlin Gallery, the Antwerp Gallery, and the 
 Wallace Collection. He is also represented by striking works in 
 the National Gallery and the National Gallery of Scotland, in the 
 Dresden Gallery, and the Brussels Gallery. His great sacred 
 works are still to be found in Flanders, in the churches of Antwerp, 
 Ghent, Malines, Courtrai, Termonde and Saventhem. The Royal 
 collections at Windsor Castle and Buckingham Palace give as a 
 whole an unsurpassed representation of Yan Dyck’s art, and 
 especially of his English period. He is also superbly represented 
 in the collection of Earl Cowper at Panshanger, in that of the 
 Earl of Pembroke at Wilton House, in that of Lord Leconfield at 
 Petworth House, in that of the Earl of Radnor at Longford Castle, 
 in that of Captain Holford at Dorchester House ; and finely in the 
 collections of the Duke of Sutherland, the Duke of Abercorn, the 
 Duke of Newcastle, the Earl of Warwick, the Earl of Craven, the 
 Earl of Clarendon, the Earl of Hopetoun, Lord Iveagh, Earl 
 Spencer, the Duke of Portland, the Duke of Norfolk, Earl Darnley, 
 Earl Fitzwilliam, Mr. Pierpont Morgan, Mr. Whitney, and some 
 others. The Liechtenstein collection at Yienna, the Arenberg 
 collection at Brussels, and the Serge Stroganoff collection at St. 
 Petersburg have magnificent portraits belonging some to the 
 earlier, some to the later Flemish period. 
 
DYCK. 
 
 39 
 
 No. 16 . Portrait of a FU’jnu'h Lady. Gallery XVI. 
 
 3 ft. 101 l>y 3 ft. f in. w. 
 
 This picture has been sometimes called “ The 
 Wife of Cornelis de Vos.” The personage repre- 
 sented would appear to be Isabella Waerbeke, 
 the wife of Paul de Vos, brother of Cornelis. 
 
 It is in the second Flemish manner. The 
 pendant portrait of Paul de Vos perished in 
 1890, in the fire at the Palace of Laeken, near 
 Brussels. 
 
 No. 53. Portrait of an Italian Nobleman. 
 
 In the so-called Genoese manner. 
 
 6 ft. 7f in. k. by 4 ft. 4| in. w. 
 
 No. 79 . Portrait of the Wife of Philippe le Roy, 
 6 ft. 11 J in. h. by 3 ft. Ill in. w. 
 
 Inscribed ‘‘ Aetatis suae 16.” Painted in 1631. 
 (See No. 94.) 
 
 In the second Flemish manner. 
 
 No. 85. Portrait of the Artist as the Shepherd 
 Paris. 
 
 3 ft. 4 in. h. by 2 ft. lOf in. w. 
 
 In the Italian manner, and under the direct 
 influence of Titian. 
 
 No. 94. Portrait of Philippe le Roy^ Seigneur de 
 Ravels. 
 
 6 ft. Hi in. h. by 3 ft. Hi in. w. 
 
 This is one of the relatively few pictures 
 signed by the artist. It bears the inscription 
 “ Aetatis suae 34. A. Van Dyck A° 1630.” 
 
 In the second Flemish manner, and, with its 
 pendant, No. 79, one of the masterpieces of that 
 phase of Van Dyck’s practice. An etched por- 
 trait in half length of Philippe le Roy, closely 
 resembling this picture, was done by Van Dyck 
 himself, and counts among the fine produc- 
 tions of this very limited class. It was not, how- 
 ever, elaborated into an engraving, or included 
 in the “ Iconographie ” (or “ Centum leones ”) 
 published in 1645 from originals by the master. 
 
 14283— (W.C.) 
 
 
 
 
 n 
 
 
 U 
 
 >? 
 
 >) 
 
 E 2 
 
 
40 
 
 EVERDINGEN— FAUVELET. 
 
 No, 112 . Portrait of King Charles I. — After Van 
 
 Dyck. Gallery XVIL 
 
 3 ft. Ilf in. h, by 3 ft. If in. w. 
 
 No, 118 . Portrait of Queen Henrietta Ma/ria . — 
 
 After Van Dyck. „ „ 
 
 4 ft. h. by 3 ft. 2 in. w. 
 
 No, 123 . The Virgin and Child. — After Van Dyck, „ „ 
 
 3 ft. B| in. h, by 2 ft. 8f in. w. 
 
 The original of this picture, which is in the second Flemish 
 manner, is in the Royal collection at Buckingham Palace. 
 Another copy is at Penshurst ia Kent. 
 
 SVERDlSreSK (Allabt van). 
 
 Dutch School. Born in 1621, at Alkmaar. Died at Amsterdam 
 on the 8th November, 1675. The young brother of Caesar van 
 Everdingen. Allart was the pupil of Roelant Savery at Utrecht, 
 and of P. Molynat Haarlem. He travelled between 1640 and 1644 
 in Norway, lived between 1645 and 1652 at Haarlem, and later 
 on was domiciled at Amsterdam. Everdingen’s admirable Nor- 
 wegian scenes inspired Jacob van Ruysdael, who is believed 
 nevOT to have seen that country. 
 
 No. 113 . A Waterfall, Gallery XVII. 
 
 2 ft, 7 in. h. by 2 ft. 1^ in. w. 
 
 FAUVEXiET (Jean-Baptiste). 
 
 French School. Born at Bordeaux in 1819. Died 1890.^ A 
 follower of Meissonier, he often chose for representation subjects 
 similar to those of his master, and executed them with remarkable 
 skill. In the Museum of the Luxembourg is a small canvas 
 “ Ascanio ” by this painter. 
 
 No. 374 . Pheasants. 
 
 6f in. h, by 8f in. w. 
 
 Gallery XV. 
 
FERRARESE SOHOOLr-FIELDING. 
 
 41 
 
 FBRRARBSB SCKOOXi (15th Cbmtuby). 
 
 No. 539. Portrait of an Italian Gentleman, Gallery 111. 
 
 1 ft. 2 in. h, by 10 in. to. 
 
 The style is that of Francesco Oossa, but the 
 modelling appears too weak for his hand. 
 
 No. 543. St. Jerome. „ „ 
 
 111 in. h, by 81 in. lo. 
 
 FZBliDZNG- (Anthony Yandyke Copley, known as 
 Copley Fielding). 
 
 British School. Bom at East Sowerby in 1788 ; died at 
 Worthing in 1855. Developed under the influence of John 
 Yarley. Copley Fielding became an Associate of the Water- 
 Colour Society in 1810, a full member in 1812, and was elected 
 President of that body in 1847. His art was facile and brilliant, 
 though he was overmuch given to perfunctoriness and self- 
 repetition. He excelled greatly in the legitimate and character- 
 istically English method of pure water-colour. Copley Fielding 
 cannot, all the same, be placed in the front rank among his 
 great contemporaries, although he displayed genuine mastery in 
 the treatment of two quite opposite subjects — inky storms at 
 sea with strong contrasts of livid light, and the Sussex Downs 
 half -veiled in sunlit mist. He filled with great capacity and much 
 profit to the “ Old ” Society his office of President, and, moreover, 
 exhibited in all on its walls no fewer than 1748 subjects. 
 
 No. 690 . Langdale PikeSy Westmoreland. — Water- Gallery XXI. 
 colour, 
 
 1 ft. 6 in. h, by 2 ft. w. 
 
 No. 691 . Bridlington Harbour. — Water-colour. „ „ 
 
 1 ft. in. h. by 2 ft. (Jf in, w. 
 
 Exhibited at the Water Colour Society in 1839. 
 
 No. 715 . Crowborough Hilly Sussex. — Water-colour. „ „ 
 
 1 ft. 44 in. h. by 1 ft. 11| in. to. 
 
 No. 716 . Loch Katrine. — ^Water-colour. „ „ 
 
 1 ft. h. by 1 ft. 4 in. w. 
 
 No. 718 . Traeth MawCy North Wales. — Water-colour. „ „ 
 
 I ft. 44 in. h. by 1 ft. Ilf in. to. 
 
42 
 
 FLEMISH SCHOOL— FLINCK. 
 
 FZiSMZSK SCKOOXi (15th Gentuky). 
 
 523 , St. Michael. - ' Gallery HI. 
 
 1 ft. 2| in. h. by 6| in. w. 
 
 The style, which for the period is facile and 
 somewhat superficial, recalls that of Simon Marmion 
 of Valenciennes, by whom are two small panels in 
 the National Gallery. 
 
 No. 548. The Virgin and Child. „ „ 
 
 T| in. h, by 6^ in. w. 
 
 The style is a later development of that of Roger van der 
 Weyden. 
 
 FIiEMXSK SCKOOZ. (16th Century). 
 
 No. 534, Portrait of a Nobleman. Gallery III. 
 
 2 ft. Hi in. h. by 2 ft. 3| in. w. 
 
 Formerly catalogued as “ Ambrose Dudley, Earl 
 of Warwick,” and ascribed to Frans Pourbus. The 
 style approaches, however, more nearly to that of 
 Frans Floris and Lucas de Heere. The old designa- 
 tion of the personage is probably the right one. 
 
 No. 535. Portrait of the Earl of Leicester (so- 
 
 called). ,, „ 
 
 2 ft, 9f in. h, by 2 ft. | in, w. 
 
 The style shows afl&nity to that of Pieter Pourbus. On the 
 evidence of an inscription paftly of later date, this portrait has 
 been erroneously described as that of Robert Dudley, Earl of 
 Leicester, and attributed to Antonio Moro. The personage repre- 
 sented has not as yet been satisfactorily identified. 
 
 FXiZNCK (Govert). 
 
 Born on the 25th January, 1615, at Cleves. Died the 2nd 
 February 1660, at Amsterdam. Pupil, at Leeuwarde, of Lambert 
 Jacobz, then at Amsterdam of Rembrandt. Flinck became 
 
FLORENTINE SCHOOL—FRAGONARD. 43 
 
 one of the ablest painters of the Rembrandt school, and his 
 pictures were not infrequently, in former days, mistaken 
 for those of his master. He worked for Frederick William, 
 Sector of Brandenburg, and Prince John Maurice, of Nassau, 
 but had his chief domicile at Amsterdam. Flinck is very liberally 
 represented in the Ryks-Museum of Amsterdam, and may 
 be studied also in the Louvre, in the Galleries of Dresden, Munich, 
 and Berlin, and the Hermitage of St. Petersburg. 
 
 No. 78. Portrait of a Young Woman. Gallery XYI. 
 
 aft. 7 in. h. by 2 ft. 1 in. w. 
 
 FXiORENTZNS SCKOOZi (14th Century). 
 
 No. 649. The Nativity. Gallery III. 
 
 6 in. h. by 4 in. w. 
 
 FXiORENTZNE SCKOOIi (Late 15th Century). 
 
 No. 556. The Triumph of Venus. Gallery III. 
 
 2 ft. h. by 2 ft. 61^ in. w. 
 
 This work, dating from the end of the 15th century, has been 
 ascribed, on insufficient grounds, to Piero di Cosimo. It shows 
 exactly the same composition as the reverse of a bronze medal 
 ascribed to Bertoldo di Giovanni, the pupil and assistant of 
 Donatello in the old age of the latter, except that in the medal 
 appear two men at the horses’ heads. 
 
 FRACrONARD (Jean-Honor^). 
 
 French School. Born at Grasse in 1732. Died at Paris on the 
 22nd August, 1806. Pupil first, for a few months, of Chardin, 
 then of Boucher. Fragonard, having carried off the Prix de Rome 
 in 1752, proceeded to Italy, and there studied especially the 
 masters of the 17th and 18th centuries, and above all Giambattista 
 Tiepolo. He travelled through Southern Italy and Sicily with 
 the Abbe de St. Non and the painter Hubert Robert, drawing all 
 the sites and monuments as he went. St. Non afterwards etched a 
 great many of these subjects, and published them in an important 
 work — “ Voyages de Naples et de Sicile.” Fragonard on his return 
 made a great success with his vast canvas, “ Le grand pretre Cor^sus 
 
44 
 
 FRAGONARD. 
 
 “ 86 sacrifie pour sauver Callirrhoe,” exhibited at the Salon of 1765, 
 and now in the Louvre ; notwithstanding which he returned no 
 more to this style of composition. He identified himself with a 
 brilliant and audacious phase of amorous and sentimental genre 
 illustrative of the 18th century and its manners, and by the 
 masterly frankness of his execution, as well as by the sponta- 
 neity and passion of his mode of conception, easily obtained 
 pardon for any overboldness Df which he might be guilty. 
 Edmund and J ules de Goncourt have not without reason styled 
 Watteau and Fragonard the only two poet-painters of tne 18th 
 century in France Like Greuze, the sculptor Houdon, and many 
 other artists of this late period in the eighteenth century, this 
 master had to endure comparative oblivion and the straitest 
 penury during the last years of his career. Fragonard’s chief 
 works are in the Wallace Collection, in the Lacaze section of 
 the Louvre, in the Hermitage of St. Petersburg, at the Banque 
 de France, which shows the large “ Foire de St. Cloud,’* in the 
 collections of M. Leopold Goldschmidt, M. Camille Groult, M. 
 Rodolphe Kann, and M. Jacques Doucet at Paris, and in that 
 of Mr. Pierpont Morgan, who now owns the famous decorative 
 canvases which until lately adorned the Salon Malvilain at Grasse. 
 
 No. 379. The Gardens of a Roman Villa. Gallery XVIII. 
 
 1 ft. 2 in. h. by 1 ft. 5f in. w. 
 
 This picture has hitherto in the Wallace Col- 
 lection been called “ The Gardens at Fontaine- 
 bleau.” There exists, however, an etching by the 
 Abbe de Saint-Non, after a drawing by Frago- 
 nard, styled “Le Petit Parc,” v.’hich is one of those 
 done by the latter in the cpurse of the joint tour 
 of the Abbe and the painter through Italy. The 
 scene represented is probably a portion of the 
 garden of the beautiful Villa d’Este at Tivoli, 
 near Rome, where Fragonard, Hubert Robert, 
 and Saint-Non lived for a summer season. 
 
 No. 382. A Lady Carving Her Name (“ Le 
 Chiffre d’ Amour ”). 
 
 10 in. h, by 7| in. w. 
 
 Engraved in reverse by De Launay. From 
 the collection of the Due de Morny. I US' — 
 
 No. 394. The Fountain of Love (“La Fontaine 
 d’ Amour ”). 
 
 2 ft. \ in. h. by 1 ft. 8^ in. w. 
 
 oJ< Vtfl4/L 
 
 O. o./c 
 
 e/c/T OtrC ^ 
 
 
FRAGONARD, 
 
 45 
 
 Engraved by N. F. Regnault. From the DemidofE collection. 
 A repetition is in the collection of Madame Paillard. 
 
 Purchased by Sir Richard Wallace at the San Donato Sale ’in 
 1870, for 31,500 francs, o,^.- / 
 
 Gallery XVIII. 
 
 No. 404 . The Schoolmistress (“ La Mattresse 
 d’Ecole”). 
 
 11 in. h. by 1 ft. 2^ in. w. 
 
 FromthePerregaux collection (1841). Another - (1 / 
 
 original version , in slightly larger dimensions, of u 
 
 this picture was engraved by N. de Launay under / 
 
 the title “ Dites done s’il vous plait.” 
 
 < uytt.. igS7-’ ■/. 
 
 No. 412 . The Fair-haired Child (“ L’Enfant 
 
 blond ”). „ „ 
 
 1 ft. Ilf in. h. by 1 ft. 71 in. to. 
 
 This picture has hitherto been known as “ Le 
 " Jeune ficolier,” a title which is obviously a misfit. 
 
 It was exhibited under that name at the Bethnal 
 Green Museum in 1872. The title “L’Enfant 
 “ blond ” is given by Baron Roger Portalis to a 
 small canvas in the collection of the Yiscomtesse 
 de Courval. 
 
 No. 430 . The Swing (“ Lea Hazards heureux de 
 
 I’Escarpolette ”). „ , XIX. 
 
 2 ft. 8 in. h. by 2 ft. IJ in. to. O. £0 ~ O. (o^ 
 
 Painted for the Baron de St. Julien in 1768 
 or 1769 (see Baron Roger de Portalis : “Honore 
 “ Fragonard.”) Engraved by Nicolas de Launay. 
 
 From the collections of Baron de St. Julien 
 (178^ and the Due de Morny (1865). 
 
 repetition is in the collection of Baron Edmond „ ^ „ - 3o. Joo 
 
 de Rothschild ; a smaller version was in that of '? 
 the Due de Polignac, (see Virgile Josz : 
 
 “ Fragonard ”). Another “ Escarpolette,” by 
 Fragonard, of larger dimensions, and wholly 
 different both in conception and design, is in the 
 collection of M. Rodolphe Kanu,at Paris. This 
 last, in its romantic and ornate character, suggests 
 some scene in a ballet of the period. 
 
 No. 455. Study of a Young Girl. 
 1 ft. 61 in. h. by 1 ft. 2J in. w. 
 
 XX 
 
 
46 
 
 FRENCH SCHOOL— FYT. 
 
 No. 483 . Cupids Sporting (“ Amours Joueurs”). Great Staircase. 
 3 ft. IJ in. h. by 4 ft. 7| in. w. 
 
 No. 488 . Cupids Reposing , „ „ 
 
 3 ft. IJ in. h. by 4 ft. 7f in. w. 
 
 FRISNCK SCHOOZi (17th Gentuby). 
 
 No. 645. Portrait of Jean du Verger deHavranne^ 
 
 Alibe de St. Ciran. Board Room. 
 
 6^ in., h. by 4J in. w. 
 
 FRENCH SCKOOXi (18th Centhry). 
 
 No. 467. The Toilet of Venus : After Boucher. — Gallery XX, 
 Water-colour. 
 
 No. 468. The Triumph of Amphitrite : After „ „ 
 
 Boucher. — W ater-colour. 
 
 FRENCH SCHOOE (Early 19th Century). 
 
 No. 599i Portrait of the Prince de Ligne. Gallery X. 
 
 Artist unknown. Apparently the reduced copy of a portrait by 
 some artist of the 18th century. 
 
 7^ in. h. by 6 in. w. 
 
 FTTT (Jan). 
 
 Flemish School. Born at Antwerp in March, 1611 ; died there on 
 the 11th September, 1661. Pupil of Frans Snyders. Fyt travelled in 
 France and Italy, and on his return joined the Guild of “ Roman- 
 ists,” at Antwerp. He surpassed his master in the richness of his 
 touch and the harmonious depth of his colour, if he did not equal 
 the incisiveness of his drawing or the force of his design. 
 
 No. 101 . Still Life and Youthful Male Figure. Gallery XVI. 
 8 ft. Hi in. h. by 6 ft. 8 in. lo. 
 
GAINSBOROUGH— GALLAIT. 
 
 47 
 
 GAINSBOROUGH (Thomas), R.A. 
 
 British School. Born at Sudbury, in Suffolk, in 1727. Died in 
 London on the 2nd August, 1788. The pupil of Francis Hayman, 
 and influenced, it is believed, by the French engraver Gravelot. 
 Gainsborough first set up as a portrait and landscape painter in 
 Hatton Garden, but without success. Returning to his native 
 place, he married Margaret Burr, a young lady of some fortune, 
 and settled at Ipswich. He removed to Bath in 1760, and in that 
 fashionable centre found a wider field for his unsurpassed powers 
 in portraiture and landscape. In 1774 he migrate to London, 
 and rented a portion of Schomberg House, Pall Mall, main< 
 taining from that time to the date of his death a rivalry in 
 portraiture with Sir Joshua Reynolds, which has endured undi- 
 minished down to our own time, and will probably last as long as 
 the English School of the 18th century has passionate admirers. 
 Gainsborough was one of the original members of the Royal 
 Academy, and exhibited regularly from the first exhibition in 
 1769 to 1783, after which date, in consequence of a misunder- 
 standing connected with the hanging of pictures, he ceased to 
 contribute. Though Gainsborough worshipped Van Dyck above 
 all painters, he is rather to be classed among the swiftest, surest, 
 and most brilliant executants that the world has seen — that is to 
 say, with, if after, Velazquez and Frans Hals. In landscape, if 
 he did not rival the classic dignity or the loftiness of sentiment 
 of Wilson, he had an inimitable charm of his own. He gave 
 rather the light, the colour, the enchantment of Nature, than 
 the detail or the structure of the scenes which he paraphrased. 
 His finest works are to be found in the National Gallery, the 
 National Gallery of Scotland, the Wallace Collection, the Royal 
 Galleries at Hampton Court and Buckingham Palace ; in the 
 collections of the Duke of Westminster, Lord Rothschild, Miss 
 Alice de Rothschild at Waddesdon Manor, Mr. .Alfred de 
 Rothschild, and Lord Burton. 
 
 No. 42. Portrait of Mrs. Robinson (“ Perdita”). Gallery XVI. 
 
 7 ft. 6 in. h. by 4 ft. 10^ in. w. 
 
 No. 44 . Portrait of Miss Haverfield. Vhcfe 
 
 4 ft. i in. h. by 3 ft. in. w. 
 
 GAXiZiAIT (Louis). 
 
 Belgian School. Born at Tournai, in Belgium, in 1810. Died at 
 Brussels in 1887. Gallait studied at Antwerp and Paris, and 
 
48 
 
 GERICAULT— GERMAN SCHOOL. 
 
 adopted in historical painting the style made popular by Paul 
 Delaroche, whom he at least equalled on his own ground. Among 
 his chief works are “ The Abdication of Charles V.,” in the 
 Modern Gallery, at Brussels, “ The Last Moments of Count 
 “ Egmont,” in the National Gallery of Berlin, and “ After the 
 “ Execution of Egmont and Horn,” in the Museum of Tournai. 
 
 No. 308. 7'he Duke of Alva Administering an Oath. Gallery XV. //c/cT 
 3 ft. 3 ki. h. by 2 ft. 7^ in. w,_. •/ tn - 4 Mi/Ccc 
 
 G-ERZCAUZiT (Jean-Louts-Andr^-Th^ocobe). 
 
 French School. Born at Rouen on the 26th September, 1791. 
 
 Died on the 18th January, 1824. The pupil first of Carle Vemet 
 and afterwards of Guerin. Gericault early revolted against the 
 tyranny of David and his school. He was a precursor of 
 Romanticism in French art, and influenced Delacroix. In 1819 
 he sent to the Salon his great work, “ Le Radeau de la Meduse,” 
 which there met with an indifferent reception. He afterwards 
 exhibited it with much success and profit in London. It is now 
 in the Louvre. Gericault’s chief works are to be found in the 
 Louvre and the provincial museums of France. 
 
 No. 274. A Cavalry Skirmish. Gallery XV. 
 
 1 ft. 3 in. h. by 1 ft. 6 in. 
 
 No. 755. Equestrian Portrait of the Prince Regent — 
 
 Water-colour. * Board Room. 
 
 Ilf in. h. by 9| in. w. 
 
 GERMAN SCKOOE (16th Century). 
 
 No. 529. Portrait of the Emperor Charles V. Gallery III. 
 
 5f in. h. by 4f in. w. 
 
 No. 533. Portrait of a Boy. „ „ 
 
 Dated 1560. 
 
 Dr. A. Bredius has suggested that this 
 portrait, the technique of which differs materially 
 from that of Holbein the Younger, and his 
 school, may be by the Austrian artist Jacob 
 Seisenegger (Born 1505. Died 1567), who was 
 court painter to the Emperor Ferdinand. 
 
GERMAN SCHOOL— GEROME. 49 
 
 GERMAN SCHOOL (18th Century). 
 
 No. 758. The Empress Maria-Theresia of Austria with her Family — 
 Water-colour. Gallery I. 
 
 The Empress-Queen is represented with her Imperial Consort, 
 Francis Stephen of Lorraine (Emperor in 1745) and thirteen 
 out of the sixteen children who were the issue of this marriage. 
 On the back of the Empress’s armchair are inscribed the words 
 “ Moriamur pro Rege Nostro.” This is the famous acclamation with 
 which the Magnates of the Hungarian Diet, assembled at Pressburg, 
 greeted their young Queen when she appeared before them on the 
 11th of September, 1741, with her infant son Joseph in her arms, 
 seeking their aid in support of her inheritance, then attacked on 
 all sides. The date inscribed on the armchair of the Emperor is 
 1760. A large oil painting of the same subject, and of similar 
 but by no means identical design, is in the picture gallery on the 
 second floor of the Palace of Versailles. It lacks the inscriptions 
 on the chairs, and bears as yet no definite attribution. 
 
 10| in. h. by 9| in. w. 
 
 GEROME (Jean-L^ion). 
 
 French School. Born at Vesoul on the 11th May, 1824. Pupil 
 ■of Paul Delaroche. Gerome’s reputation as a painter has been 
 obtained chiefly by his studies of oriental life and character, and 
 by the long series of works in which he expresses with the most 
 vigorous finish subjects of the strongest dramatic import. Among 
 the most celebrated of these last may be mentioned “ Les Suites 
 d’un Bal Masque,” “La Mort du Marechal Ney,” “La^Mortde 
 C4sar,” “ Ave Caesar, morituri te salutant,” and “ L’Eminence 
 Grise.” Gerome has also achieved considerable distinction as a 
 ecnlptor. 
 
 No. 301. The Draught Players. Gallery XV. 
 
 1 ft. 3J in, A. by 11 in. w. 
 
 No. 304. An Arab Soldier. „ „ 
 
 in. h. by 7J in. w. 
 
 No. 306. The Guard of the Harem. ,, 
 
 84 in, h, by 64 in. w. 
 
50 
 
 GREUZE. 
 
 ‘ G-RSUZB (Jean-Baptiste). 
 
 French School. Born at Tournus, near M^con, on the 21st 
 August, 1725 ; died on the 21st March, 1805. Pupil of an obscure 
 Lyons painter, Grandon. Greuze came to Paris and achieved a 
 great success with his first picture, “La Lecture de la Bible”; 
 further establishing his reputation with such popular works as 
 “ La Malediction Paternelle,” “ Le Fils puni,” and “L’Accord^e 
 de Village.” . His celebrity was attained in a great measure with 
 these sentimental scenes from the life of the lower bourgeoisie, 
 and Diderot, in his “Salon” of 1755 wrote of him as “le 
 premier parmi nous qui se soit avise de donner des moeurs 
 a I’art.” Greuze was “received ” by the Academic Royale on the 
 23rd August, 1769; but the picture, “The Emperor Severus 
 reproaching Caracalla,” presented by him was judged so 
 defective that he was only accepted as “ peintre de genre.” 
 Bitterly humiliated and disappointed, he exhibited no more at the 
 Salon until the year 1800. His reputation with the connoisseurs of 
 to-day is chiefly sustained by the single heads and the figures of 
 girls of tender years and beauty still immature, in which he has 
 cunningly mingled seeming simplicity with a voluptuous grace. 
 Some of his portraits of men, as well as of women, have great merit. 
 The reputation of Greuze declined greatly in his old age, and he 
 died in indigence. Like many great artists of his time, especially 
 Fragonard and Houdon, he was unable to accommodate himself 
 to the change of taste which set in with the Revolution. The 
 Wallace Collection possesses the largest collection of Greuze’s 
 paintings, chiefly fanciful and sentimental single-figure studies, 
 with one or two portraits. The varied -group of his works in the 
 Louvre ranks next. It includes the “ Severus reproaching 
 Caracalla,” “ L’Accordee de Village,” “ La Malediction Pater- 
 nelle,” “ Le Fils Puni,” and the two famous pieces “ La Cruche 
 Cassee” and “La Laitiere.” Almost all the provincial museums 
 of France have examples of Greuze, the museum of Angers 
 being particularly fortunate in possessing the much admired 
 “Madame de Porcin.” The National Gallery of Scotland has 
 five examples, including the charming “ Girl with a Dead 
 Canary.” The private collections of England are still even 
 richer in the works of this master than those of France. The 
 most remarkable examples are to be found in those of Mr. Alfred 
 de Rothschild, the Earl of Dudley, Mr. Pierpont Morgan, Mr. 
 H. L. Bischoffsheim, the Duke of Wellington, and some others. 
 
 No. 384 :. Innocence. 
 
 2 ft. i in. h. by 1 ft. 8J in. w 
 
 Gallery XVIH. 
 
GREUZE. 
 
 No. 388. Sorrov), 
 
 51 
 
 Gallery XVIII 
 
 I ft. 6f in. h. by 1 ft. 2^ in. w. <^o xJl 
 
 No. 396. Espieglerie, ' „ „ 
 
 1 ft. 3^ in. h. by 1 ft. ^ in. w. 
 
 No. 398. Fidelity. 
 
 1 ft. 8^ in. h. by 1 ft. 4^ in. lo. CPoAU od: fJ. 
 
 No. 402. The Listening Girl. „ 
 
 1 ft. 6^ in. h. by 1 ft. 3 in. w. 
 
 No. 403. Portrait of Mile. Sophie Amould (a 
 famous singer and actress of the 
 French Opera, 1744 — 1803 ). ,, „ 
 
 2 ft. h. by 1 ft. 81 in. lo. 
 
 No. 407. A Bacchante (“ La Bacchante”), o/ 
 
 1 ft. 6f in. h. by 1 ft. 2^ in. w. 
 
 No. 413. Portrait of a Lady. „ „ 
 
 1 ft. 71 in. h. by 1 ft. 31 in. w. 
 
 No. 415. Girl with a Gauze Scarf. „ 
 
 1 ft. 101 h. by 1 ft. 6 in. w. 
 
 No. 419. Boy with a Dog. 
 
 1 ft. Ill in. h. by 1 ft. 71 in. w. 
 
 1 ft. 7 in. h. by 1 ft. 41 w. 
 
 No. 425s Girl in a Blue Dress. 
 
 1 ft. 4 in. h. by 1 ft. 1 in. w. 
 
 No. 427. Girl in a White Dress. 
 
 1 ft. 6 in. h. by 1 ft. 3 in. w. 
 
 No. 428. A Girl with Doves. 
 
 2 ft. 3 in. h. by 1 ft. lOf in. w. 
 
 Perhaps “ L’Innocence tenant deux spigeons,” 
 exhibited at the Salon of “ AN. VIII.” aSOOL 
 
 No. 421. Ariadne. 
 
 
52 
 
 GREUZE— GROS. 
 
 No. 434. Flying Cupid with a Torch, '^^^'^^Gallery XIX. 
 
 10{ in, h. by 8 in. lo. ^ - //f 
 
 No. 440. Study of Grief. \ „ „ 
 
 1 ft. 4 in. h. by 1 ft. ^ in. w. 
 
 <« 
 
 calt^ueJ-- 
 
 No. 441. The Votive Offering to Cupid (“L-’Off- 
 rande k I’Amonr’'). 
 
 4 ft. 9 in. h. by 3 ft. 8 in. w. 
 
 Engraved by Macret. Exhibited at the Salon 
 of 1769 under the title “ La Jeune Fille qui fait 
 “ la priere au pied de I’autel de I’Amour.” The 
 picture belonged originally to the Due de 
 Choifieul ; afterwards to M. de Calonne, by whom 
 it was sold in London in 1793. Its last appear- 
 ance was at the sale of the collection of Cardinal ^ ^yLJ^/ d: y y 
 
 A 4 Qf‘^oAuaXS 
 
 du. 
 
 CLoumJL^ - 
 
 Ua^/L Oaa 
 
 fuXA^^'VCy^t- fu/uA. 'h'tMic 
 
 Fesch in 1844. a- ■ ot : -7. JJ~ ^ 
 
 No. 442. The Broken Mirror (“ Le Miroir 
 Cass4 ” or “ Le Malheur imprevu ”) 
 
 1 ft. 9| in. h. by 1 ft. 5^ in. w. 
 
 Engraved in 1779 by R. de Launay. 
 
 No. 443. Girl leaning on her Hand. „ „ 
 
 1 ft. 5^ in. h. by 1 ft. 2} in. w. 
 
 No. 454. Filial Piety (“ La Piete nliale ”). „ XX. 
 
 1 ft. 3f in. h. by 1 ft. f in. w. 
 
 No. 459. The Letter-Writer. 
 1 ft. 4 in. h. by 1 ft. 1 in. w. 
 
 GROS (Antoine- Jean), Baron. 
 
 French School. Born at Paris on the 16th March, 1771. Died 
 at Meudon on the 26th June, 1835. Pupil of David. Gros 
 travelled in Italy, and having been presented to Bonaparte was 
 attached to his head-quarters in the capacity of military painter. 
 In his celebrated “Pestifer^s de Jaffa ” and “ Bataille d’Eylau ” 
 he broke away from the classicism of David and, in his ardent 
 
GUARDI. 
 
 fias 3 ion as in his approach to realism, showed himself a precursor 
 of Romanticism. Returning later to the traditions of his youth 
 he became, all the same, a pronounced opponent of the Romantic 
 School, and painted in an old-fashioned style which subjected 
 him to violent criticism. Stung to the heart by the attacks on 
 his “Hercule et Diomede,” exhibited in 1835, he committed 
 'suicide by throwing himself into the Seine at Meudon. 
 
 No. 303. General Bonaparte reviewing Troops. Gallery XV. 
 
 1 ft. 3J in. h. by 1 ft. i in. w. 
 
 At the Palace of Compiegne is a large “ Equestrian Portrait of 
 General Bonaparte reviewing troops after the battle of Marengo, 
 by Gros, the central motive of which is very similar to that of the 
 present picture. 
 
 CrUARDI (Francesco). 
 
 Venetian School, 18th century. Born at Venice in 1712 ; 
 died tiiere in 1793. Pupil of Antonio Canale, called Canaletto. 
 Guardi had not the accurate knowledge of perspective or the 
 mastery of intricate composition which distinguished his leader. He 
 surpassed him, on the other hand, in pictorial charm and lightness 
 of touch, as in the quality and intensity of his illumination. No 
 painter has more finely rendered the beauty and variety of the 
 atmospheric effects in Venice and the Lagunes, or with so great 
 a fascination given the sparkle and vivacity of the city and its 
 inhabitants in the most brilliant period of the 18th century. 
 
 /ff 
 
 No. 494. The Dogana. ax> ct 
 
 2 ft. in. h. by 3 ft. w._a. O.^/ 
 
 No. 502. An Archway in Venice. „ 
 
 11 in. h. by 81 in. w. 
 
 No. 503. Church of Santa Maria della Salute, 
 
 2 ft. 21 in. h. by 3 ft. w. ^ 
 
 No. 504. Vaulted Arcade of the Doge's Palace. 
 
 No. 491 . The Church of San Giorgio Maggiore. Gallery XII. > 
 
 2ft.2Jin.A.by3ft,«>. C.ig.Of/ 
 
 
 cy 
 
 11 in. h. by 81 in. w. 
 14283— (W.C.) 
 
 //■ 
 
54 
 
 GUDIN— GUIDO. 
 
 No. 508. The Rialto. 
 
 2 ft. in. h. by 3 ft. to. 
 
 No. 517. The Church of San Giorgio Maggiore. „ „ 
 
 1 ft. IJ in. h, by 1 ft. 9^ in. w. 
 
 No. 518. The Dogana and Seminario Patriaroale. ,, „ 
 
 1 ft. If in. h. by 1 ft. 9^ in. to. 
 
 No. 647. A Courtyard in Venice. „ XI. 
 
 1 ft. 3 in. h. by 11^ in. to. 
 
 Gallery XII. 
 
 r 
 
 6UDXN (Theodore- Jean-Antoine). 
 
 French School. Born at Paris in 1802 ; died there in 1880. 
 Gudin was marine painter fo Louis-Philippe and afterwards to 
 Napoleon III. As a commission from the former he undertook 
 no less than eighty works for Versailles, but with these achieved 
 no success. For Napoleon III. he painted “ The Arrival of Queen 
 Victoria at Cherbourg.” 
 
 No. 580. Coast Scene in Stormy Weather. Gallery IX 
 
 2 ft. 10^ in A. by 4 ft. IJ in. w. 
 
 GVXDO (Guido Reni, in England known as Guido). 
 
 Bolognese School. Born at Calvenzano, near Bologna, on the 
 4th November, 1575. Died at Bologna on the 18th August, 1642. 
 Pupil of the Carracci, and afterwards the recognised head of the 
 Bolognese School. Guido’s first works were in the naturalistic 
 style of Caravaggio. He afterwards developed and practised with 
 commanding ability the more idealistic and conventional manner 
 with which he is chiefiy identified. 
 
 No. 644. The Virgin and Child with St. John. — School of Guido 
 Reni. Board Room, 
 
 in. h. by 10| in. to. 
 
HACKAERT— HALS. 
 
 55 
 
 UACKAS&T (Jan). 
 
 Dutch School. Bom at Amsterdam in 1629 ; died there about 
 1699. He travelled in Switzerland and Italy, but practised chiefly 
 at Amsterdam. Adriaen van de Yelde and Lingelbaeh usually 
 painted the figures in his landscapes. 
 
 No. 121. Avenue, in a Wood . — The figures by Adriaen van de 
 Yelde. Gallery XYII. 
 
 1 ft. 114 in. h. by 1 ft. 7 f in. to. ^OxJ'O- _ ^^^.OOO 
 
 a A' ^ 
 
 UAXiS (Fbans). 
 
 Dutch School. Born at Antwerp (of parents belonging to 
 Haarlem families) in 1580 or 1581. Died at Haarlem and was 
 buried there on the 1st September, 1666. Frans Hals, on settling 
 at Haarlem in 1604, be^me the pupil of Karel van Mander. 
 His most famous works are the series of portrait-groups in the 
 Haarlem Museum, showing the officers of the Civic Guard in the 
 act of celebrating the anniversary days of their respective 
 companies. The Berlin Gallery also possesses a superb series 
 both of his portraits proper and of his freer and more humorous 
 portrait - studies. Frans Hals depicts with a vital force and 
 energy hardly paralleled in art the brighter and more momentary 
 aspects of life and character, but avoids the whole domain in 
 which Rembrandt, the master of the prof ounder and more pathetic 
 realism, is supreme. He is one of the greatest masters of the 
 brush of all time, and in this respect stands second to Yelazquez 
 alone. Among the public collections of Europe, other than those 
 of Haarlem and Berlin, which show notable works by Frans 
 Hals, are the Ryks-Museum of Amsterdam, the Louvre, the Cassel 
 Gallery, the Antwerp and Brussels Galleries, and the Hermitage 
 of St. Petersburg. The Liechtenstein Gallery at Yienna contains 
 the famous full-length “ Portrait of Willem van Heidthuysen.” 
 Among the best examples of the master in England are the 
 “Laughing Cavalier” here, “ L’Homme au Gant” (1630) at 
 Buckingham Palace, the “Poitrait of a Woman ’’ in the collection 
 of Mr. Pierpont Morgan, and a small pair of portraits, represent- 
 ing a burgomaster and his spouse, at Longford Castle. 
 
 No. 84. The Laughing Cavalier. Gallery XYI. 
 
 2 ft. 9 in. h. by 2 ft. 2| in. tc. 
 
 Signed with the monogram of the artist, and dated 1624. Pur- 
 chased by the Marquis of Hertford at the sale of the Pourtales 
 collection in 1865, for 51,000 francs. 
 
 H283— (W.C.) 
 
 F2 
 
^6 
 
 HARDING— HEKM. 
 
 HAUDlN^r (James Dufpield), 
 
 British School. Born in Deptford in 1797 or 1798. Died at 
 Barnes in 1863. Pupil of Samuel Prout. A member of the 
 Society of Painters in Water Colours in 1821. Harding was also 
 highly distinguished as a lithographer. He published technical 
 treatises on art, including many Lithographic Drawing Books 
 and “ Lessons.” 
 
 No. 658. Bernoastel on the Moselle. Gallery XXII. 
 
 2 ft. 6 in. h. by 3 ft. 5 in. u). 
 
 MARPEa (Henry A.). 
 
 British School. Born at Blunham, in Bedfordshire, in 1835. 
 Died in 1900. A frequent exhibitor at the Royal Academy, and 
 the author of books on Palestine and the Bible. Chiefly occupied 
 with the scenery of Egyp' and the East. 
 
 No. 694, The Jews' Wailing Place. Gallery XXI. 
 
 1 ft. 1 in. h. by 2 ft. 2f in. w. 
 
 No. 695. The Nile at Cairo. » n 
 
 1 ft. in. h. by 2 ft. in. w. 
 
 2XE1SM (Jan Davidsz de). 
 
 Dutch or Flemish School. Born at Utrecht in 1606. Died at 
 Antwerp in 1683 or 1684. Pupil of his father, David de Heem. 
 He practised at Leyden, then at Utrecht, and finally at Antwerp. 
 
 No. 70. Still Life (“ Les Champignons ”). Gallery XYI. 
 
 3 ft. lOf in. h. by 5 ft. 64 in. w. 
 
 No. 175. Still Life^ with a Lobster. „ XIY. 
 
 2 ft. 7 in. h. by 3 ft. 4| in. w. 
 
HEEM— HELST. 
 
 57 
 
 KBEBX (CokneLis de). 
 
 Dutch or Flemish School. Born at Leyden in April 1631. Died 
 at Antwerp on the 17th May, 1695. Pnpil of his father, Jan 
 Davidsz de Heem. He practised chiefly at Antwerp. 
 
 No. 107. Still Life^ with Fruit and^Gold Plate. Gallery XVIL 
 4 ft. If in. h. by 4 ft. 6f in. w. 
 
 KEZZiBUTH (Ferdinand). 
 
 French School. Born at Hamburg in 1826. Died in 1887. 
 Having at the outset developed his art during a residence of 
 several years in Rome, Heilbuth became in his definitive style a 
 characteristically Parisian painter. In Rome he had been known 
 as “ the Painter of Cardinals.” In Paris he rendered with great 
 delicacy and a rare truth of atmospheric effect the landscapes of 
 the Banlieue^ or outskirts of the city, and the environs — combining 
 with these landscape settings modern genre scenes and studies of 
 the Parisienne of his day. A Prussian by birth, he declined, when 
 war was declared between France and Prussia, to take up arms 
 against his adopted country. He accordingly fled to London, and 
 on his return at the termination of the conflict became by 
 naturalization a French citizen. 
 
 No. 342. Excavations in Rome. Gallery XY. 
 
 2 ft. 9 in. h. by 4 ft. lOf in. w. 
 
 No. 676. The Cardinal. „ IX. 
 
 2 ft. 3 1 in. h. by 4 ft. w. 
 
 HBZiST (Bartholomeus van der). 
 
 Dutch School. Born at Haarlem in 1611 or 1612. Buried at 
 Amsterdam on the 16th December, 1670. Probably the pupil of 
 Nicolas Elias. Van der Heist practised chiefly at Amsterdam. 
 He was one of the most skilful and painstaking of the Dutch 
 portrait-painters, and in his way a consummate master, although 
 he cannot be placed in the very first rank, beside Rembrandt and 
 Frans Hals. His two masterpieces are “The Banquet of the 
 
58 
 
 HE YDEN— HOBBEMA . 
 
 Civic Guard in honour of the Peace of Westphalia,” and “ The 
 Civic Guard of Captain Roelaf Bicker,” both in the Ryks 
 Museum at Amsterdam. /- 
 
 No, 110. A Family Group. Gallery XVH. 
 
 5> ft. 6 in. h. by 6 ft. in. to. 
 
 KEYDBK (Jan van deb). 
 
 Dutch School. Born at Gorkum in 1637. Died at Amster- 
 dam on the 28th September, 1712. Pupil of an unknown painter 
 on glass. He practised chiefly at Amsterdam, but travelled also 
 in England and Germany. His street scenes are marked by a 
 unique combination of wonderful finish with perfect breadth and 
 harmony, as well as by a true sense of atmospheric environment. 
 The figures introduced are often by Adriaen van de Yelde or 
 Eglon van der Neer. 
 
 No. 195. A Street Scene. Gallery XIV. 
 
 1 ft. h. by 1 ft. 3^ in. w. 
 
 No. 225. The Margin of a Canal. „ XIII. 
 
 1 ft. 31 in. h. by 1 ft. lOf in. w. 
 
 (The figures are by Adriaen van de Velde.) 
 
 No. 230. Exterior of a Chmch, „ „ 
 
 1 ft. 5i in. h. by 1 ft. 11 in, w. 
 
 HZXiTON (William), R«A. 
 
 British School. Born at Lincoln. Died in 1839. A.R.A. in 
 1813 ; R.A. in 1819. Keeper of the Royal Academy in 1827. 
 
 No. 633. Venus appearing to Diana and 
 her Nymphs. 
 
 6 ft. A. by 6 ft. 21 in. M?. ^ ^ 
 
 e 4 c /SSc^ oc : ^ 07 ^— 
 
 HOBBEMA (Meindebt). 
 
 Entrance Hall. 
 
 
 Dutch School. Born at Amsterdam in 1638. Died there on the 
 7th December, 1709. Pupil of Jacob van Ruysdael. Hobbema 
 
HOLBEIN. 
 
 59 
 
 was domiciled at Amsterdam, where, from the year 1668 to that 
 of his death, he was employed in the Excise. Adriaen van de 
 Velde and Lingelbach usually painted the figures in his land- 
 scapes. Though Hobbema lacks the breadth and variety of his 
 master, and has a less dramatic conception of Nature, the charm 
 and accomplishment of his art have won for him a name hardly 
 inferior to that of Ruysdael. Indeed, with private collectors he 
 would appear to be the more esteemed painter. His finest works 
 are in England, where his reputation has always stood high. The 
 National Gallery and the Wallace Collection are especially rich in 
 landscapes from his brush. Splendid examples are also to be 
 found in the Dulwich Gallery, in the collection of Captain Holford 
 at Dorchester House, and in that of Mr. Alfred Beit. 
 
 No. 60. Landscape with a Ruin. Gallery XVI. 
 
 1 ft. 11 in. h. by 2 ft. 8:J in. w. 
 
 No. 75. Stormy Landscape. 
 3 ft. 1 in. h. by 4 ft. 2 in. w. 
 
 Ctt- /J//0 c 
 
 No. 99. Landscape with a Watermill. 
 
 2 ft. 3^ in. h. by 1 ft. in. w, 
 
 No. 95. Wooded Landscape. 
 
 2 ft. 6 in. h. by 3 ft. 7 in. w. olttciM ^ 
 
 y /^//o c'* 
 
 njQiZd -** /</ ~ iSS. aoa 
 
 No. 164. The Outskirts of a Wood. ., XIV 
 
 1 ft. 8| in. h. by 2 ft. 2^ in. w. 
 
 e/t. t'an. ^ 
 
 /fo^iTe 
 
 /f«/J 4 , o/rHci' Ol- _ 
 
 /?* /ad- ^2t/c£/ona/. 4^/^ — -^J/. /?/?0 ~ a/o tct 
 
 BANS KOZiBEZN, THE YOUNGER (School of ?). 
 
 No. 547. King Edward VI. Gallery III. 
 
 This and No. 554 are much later adaptations, on an enlarged 
 scale, of portraits by some Anglo-Flemish artist of the school of 
 Holbein the Younger. 
 
 No. 554. Jane Seymour^ Queen^Consort of Henry VIII. 
 
60 
 
 HONDECOETER— HOOCH. 
 
 KONI>SCOET£R (Melchior de). 
 
 Dutch School. Born at Utrecht in 1636. Died at Amsterdam 
 on the 3rd April, 1695. Pupil of his father Gysbert de Honde- 
 coeter and his uncle Jan Baptist Weenix. He lived between 1659 
 and 1663 at The Hague and afterwards at Amsterdam. Honde- 
 coeter depicted the life and character of birds — especially those of 
 the farmyard — with extraordinary energy and the most vigorous 
 dramatic characterisation, as well as with great decorative effect, 
 the only drawback to the enjoyment of his art being a pervading 
 hotness and rustiness of colour. 
 
 No. 64i Peacock and other Birds. 
 
 6 ft, 9 in. h. by 5 ft. 8^ in. w. 
 
 No. 69. Dead Birds and Game. 
 
 6 ft. 1|^ in, h. by 5 ft. 4^ in. w. 
 
 No. 83. Cock and other Birds, 
 
 3 ft. 6 in. Ji. by 4 ft. 1^ in. w. 
 
 KOOGH (Pieter de) or KOOGK. 
 
 Dutch School. Born at Utrecht in 1630. Died after 1677, 
 presumably at Amsterdam. He was at first influenced by Jacob 
 Duck, afterwards by Rembrandt, but worked out a style 
 absolutely his own. He was in 1653 at The Hague, then for a 
 couple of years at Delft, and later on at Amsterdam. In the 
 treatment of subtle gradations and brilliant contrasts of indoor 
 light, as in the rendering of the intimate charm and repose of indoor 
 life, De Hooch has only one rival in art — his own fellow- 
 countryman, the great Yermeer of Delft. 
 
 No. 23. Interior with a Woman Peeling Ajpples. Gallery XYI. 
 2 ft. 2 in. h. by 1 ft. 9 in. w. 
 
 No, 27. Interior with Woman and Boy. „ „ 
 
 2 ft. 4^ in. h. by 1 ft. 11 in. w. 
 
 Gallery XYI, 
 
 ») 
 
 5 ) » 
 
HOPPNER— ISABEY. 
 
 61 
 
 KOPPN33R (John), R.A. 
 
 British School. Born in London in 1759. Died in 1810. 
 A.R.A. in 1793 and R.A. in 1795. He soon became, through 
 the patronage of the Prince of Wales, a very fashionable portrait 
 painter. Hoppner, in his earlier style, took Reynolds as his 
 model and exercised a fascination of a lower order than his, yet 
 undeniable of its kind. In his later time he was the friendly rival 
 of Lawrence. 
 
 No. 41. Portrait of a Lady. Gallery X VI. 
 
 2 ft. 5 in. h. by 2 ft. | in. w. 
 
 No. 563. Portrait of George Prince of Wales 
 
 {afterwards George /F.). „ I. 
 
 4 ft. 1^ in. h. by 3 ft. 9 in. w. 
 
 HUirSUM (Jan van). 
 
 Dutch School. Born at Amsterdam on the 15th April, 1682 ; 
 died there on the 7th February, 1749. Pupil of his father 
 Justus. Van Huysum practised chiefly at Amsterdam. In his 
 day he was called “ The Phceiiix of Flower and Fruit Painters.” 
 His works are more remarkable for the extraordinary finish and 
 perfection of every detail than for true pictorial power, or 
 effectiveness. 
 
 No. 149. Flowers in a Vase. Gallery XIV. 
 
 2 ft. 7J in. h. by 1 ft. Hi in. w. 
 
 No. 207. Emit and Flowers. „ „ 
 
 2 ft. 7^ in. h. by 1 ft. Hi in. w. 
 
 XSABEIT (Eugene-Gabriel). 
 
 French School. Born at Paris in 1804 ; died there in 1886. 
 The son of the celebrated miniature-painter Jean-Baptiste Isabey. 
 He first painted genre, and then more or less abandoned this style, 
 in which he had shown great facility and elegance, for marine 
 painting, which he practised with unquestioned success for more 
 than half a century. 
 
62 
 
 JARDIN— JOHANNOT. 
 
 No. 271. Court Reception at a ChAteau. Gallery XV. 
 
 2 ft. 1 in. h. by 2 ft. 11 in. w. 
 
 No. 335. The Young Mother, „ „ 
 
 1 ft. in. h. by 11^ in. w. 
 
 No. 360. A Promenade by the Sea. „ „ 
 
 1 ft. 71 in. h. by 2 ft. 21 in. to. 
 
 No. 579. Ships on the Seashore. „ IX. 
 
 2 ft. 1 in. h. by 2 ft. Ill in. w. 
 
 JARDZN (Karel du). 
 
 Dutch School. Born in 1622, at Amsterdam. Died at Venice 
 on the 20th November, 1678. Pupil of Claas Pietersz Berchem, 
 at The Hague ; afterwards developed under the influence of Paul 
 Potter. Du Jardin made a lengthy sojourn in Italy, and after- 
 wards practised at The Hague and Amsterdam. 
 
 No. 222. The Smithy. Gallery XIII. 
 
 1 ft. 61 in. h. by 1 ft. 8 in. w. 
 
 No. 241. Portrait of a Gentleman „ „ 
 
 1 ft. h. by 9 in. w. 
 
 No. 641. Boors Merrymaking. „ XI. 
 
 9 in. h, by 9 in. w. 
 
 JOKANMOT (Tont). 
 
 French School. Bom at Mannheim on the 9th November, 1803. 
 Died at Paris on the 3rd August, 1852. Chiefly famous as a 
 vignettist, aquafortist, and engraver of works of the Romantic 
 epoch. Tony Johannot was the youngest of three brothers, the 
 elder being Charles and Alfred. He worked at first in collabora- 
 tion with Alfred, with whom he illustrated Walter Scott and 
 Fenimore Cooper. He also illustrated alone Moliere’s plays, as 
 well as “ Gil Bias ” and “ Don Quixote.” 
 
JORDAENS— LAMI. 
 
 63 
 
 No. 693 . Minna and Brenda, — Water-colour. Gallery XXI 
 
 1 ft. 41 in. h. by 1 ft. li in. u>. 
 
 No. 739 . Young Girl Asleep. — Water-colour. „ „ 
 
 4| in. h. by 2J in. w. 
 
 JORDAENS (Jacob). 
 
 Flemish School. Born at Antwerp on the 19th May, 1593 ; 
 died there on the 18th October, 1678. Pupil of his father-in-law, 
 Adam Yan Noort, but mainly developed under the influence of 
 Rubens. J ordaens has been wrongly counted among the actual 
 pupils of the great head of his school. Although he constantly 
 recalls the latter, both in his types and his general mode of 
 conception — more especially in the intensity with which he 
 expresses joy in the physical side of life — his style shows 
 the strongest and most exuberant individuality, and is easily 
 distinguishable from that of any of his contemporaries. The art 
 of Jordaens is insuflBciently represented in England, whether in 
 public or private collections. He must be studied in the National 
 Collections of Belgium, in the Summer Palace called “ The House 
 “ in the Wood ” at the Hague, in the Louvre, the Dresden Gallery, 
 and the other state collections of Germany. 
 
 No. 120. The Riches of Autumn. Gallery XVII. 
 
 6 ft. 61 in. h. by 7 ft. 4| in. w. 
 
 liABXZ (Locis-Eug^ne). 
 
 French School. Born in 1800. Died in 1894. Pupil of Groa 
 and Horace Yernet. His reputation was chiefly acquired as a 
 water-colour painter, his style being marked rather by delicacy 
 and vivacity than by strength or concentration. The Victoria 
 and Albert Museum contains an extensive series of drawings in 
 this medium from his brush, these being comprised partly in the 
 Bequest of the Rev. Chauncy Hare Townshend (1868), partly in 
 that of Mr. Bryan (1880). 
 
 No. 653 . The Great Staircase at Versailles . — 
 
 Water-colour. Gallery XXII. 
 
 1 ft. I in. h. by 1 ft. 7| in, to. 
 
64 
 
 LANCRET. 
 
 No. 663. Before the Great Revolution.--^ 2 ^iQv- 
 
 colour. Gallery XXII. 
 
 1 ft. 2| in. h. by 2 ft. If in. w. 
 
 No. 703. The Court of Louis XIV. in Flanders . — 
 
 Water-colour. „ XXI. 
 
 1\ in. k. by 1 ft. 1;| in. lo. 
 
 No. 710. The Royal Procession at the Opening of 
 
 Parliament. — Water-colour. „ „ 
 
 in. h. by 1 ft. I in. w. 
 
 At the San Donato Sale of 1870, “ Le Cortege 
 “de la Reine,” to give the drawing its French title, 
 was bought for 4,900 francs. 
 
 No. 723. British Horse Artillery Marching Past . — 
 
 Water-colour. „ „ 
 
 llj in. h. by 1 ft. 7^ in. w. 
 
 (Nicolas). 
 
 French School. Born at Paris on the 22nd January, 1690 ; 
 died there on the 14th September, 1743. His first master was 
 Dulin. Then, attracted by the style developed by Watteau, he 
 entered the atelier of Gillot, whose pupil the former had been, and 
 worked there for several years. A close friendship had sprung up 
 between Watteau and Lancret, but the latter followed the manner 
 of his senior so closely and deliberately that some of his productions 
 were actually attributed to Watteau, who took offence and 
 withdrew from the intimacy. Two paintings in this collection, 
 Nos. 422 and 448 are instances of this close imitation, which 
 Lancret later on exchanged for a more individual manner. He 
 was received at the Academie Royale on the 24th March, 1719, as 
 a painter of FHes Galantes. Wholly lacking Watteau’s power to 
 infuse poetry and tenderness into the most frivolous subjects, and 
 failing, moreover, to equal his rich, vibrating colour-chords, 
 Lancret has yet an exquisiteness peculiarly his own. He is light, 
 gay, humorous, with a touch of irony, and even in his artifice 
 perfectly represents the character of his time. He might fittingly 
 be called the Marivaux of painting. The most notable examples of 
 Lancret’s works are to be found in the Royal Palaces at and near 
 Potsdam, in the Wallace Collection, the Dresden Gallery, the Conde 
 Museum at Chantilly, the Museum of Angers, the Hermitage at 
 
LANCRET. 
 
 65 
 
 St. Petersburg, the National Museum of Stockholm, the Louvre, 
 and the National Gallery ; in the collections of Lord Wantage, 
 Mr. Alfred de Rothschild, Mr. Pierpont Morgan, and some others. 
 
 No. 378. Girl in a Kitchen (ascribed to). Gallery XVIIl. 
 
 llj in. h. by 9f in. w. 
 
 The attribution is in this case not free from 
 doubt. In the Hermitage are two kitchen-pieces 
 ascribed to Lancret “ line Cuisine,” and “ Le 
 Yalet Galant.” 
 
 No. 393. Mademoiselle Camargo Dancing (‘‘ La 
 
 Camargo essaye un nouveau pas ”). ,, ,, 
 
 1 ft. in. h, by 1 ft. in. w. iSU 
 
 Engraved by Laurent Cars. Bought by Sir 
 Richard Wallace in 1872, at the Ve:Ue Pereire 
 for 9,500 francs, 
 
 There is an original repetition of this picture, with a marked 
 variation in the colour-scheme, in the Hermitage Gallery at St. 
 Petersburg. Another original repetition, with a slight variation 
 in the grouping, is in the Museum of Nantes. In the Neues 
 Palais at Potsdaa.i is “ La Camargo avec son Danseur,” showing 
 the ballerina, in the same costume and the same attitude, but in 
 the act of executing a pas de deux with a male dancer. Voltaire 
 adroitly balancing the beauty and skill of this dancer with the 
 equal attractions of her rival. Mile. Salle, wrote the following 
 graceful lines on the two divinities of the ballet : — 
 
 “ Ah 1 Caraarcro, que vous etes briUante 1 ” 
 
 “ Mais qne Sall6, grands dieux est ravissante 1” 
 
 *' Que VOS pas sont 16gers, et que les siens sont doux I ” 
 
 “ Elle est inimitable, et vous tonjours nouvelle ; ” 
 
 “ Les Nymphes sautent comme vous,” 
 
 “ Et les Grices dansent comme elle.” 
 
 No. 4:01. An Italian Comedy Scene. 
 11 in. h. by 1 ft. 2\ in. w. Ir^ 
 
 No. 408. Girls Bathing. 
 
 9^ in. h. by 1 ft. 1 in. w. 
 
 Gaberv XVllL 
 
 
 cd: 
 
 No. 409. The Broken Necklace. 
 
 10 i in. h. by I ft. If in. ic. 
 
 Engraved in reverse by N. de Larmessin as “Le 
 petit chien quisecouede I’argentet despierreries.” 
 
63 
 
 LANDELLE. 
 
 No. 4:22. Conversation Galante. Gallery XV 111. 
 
 2 ft. 3| in. k. by 1 ft. 9^ in. w, ^ 
 
 This, or a painting of identical design, was 
 one of Lancret*s morceaux de reception at the 
 Academy in 1719. It was finely engraved by 
 Le Bas in 1743 for his morceau de reception at the 
 Academy. 
 
 No. 436 . The Bird Catchers. „ XIX. 
 
 1 ft. i in. h. by 1 ft, 3f in. to. 
 
 No. 448 . Fite in a Wood. „ XX. 
 
 2 ft. Ilf in. h. by 2 ft. 1 in. w. 
 
 This picture has hitherto been attributed to 
 Jean-Bap tiste Pater. It is in the earliest style of 
 Lancret, and is probably the “ Bal dans un Bois,” 
 which was exhibited at the Place Dauphine in or 
 about 1718, and there excited the ire of Watteau. 
 
 No. 450 . Portrait of an Actress (“ La Belle 
 
 Grecque”). „ 
 
 2 ft. 2 in. h, by 1 ft. 9| in. w. 
 
 Engraved under the latter name by Schmidt. 
 
 A repetition of less merit is in the collection of 
 the Yicomtesse de Courval. 
 
 No. 465 . An Italian Comedy Scene. „ „ 
 
 3 ft. h. by 2 ft. 104 in. to. 
 
 The attribution is in this instance not quite 
 certain. It is based on the close resemblance, of 
 this work in style and technique to the “Conversa- 
 tion Galante,” No. 422 in this collection. Much 
 in the same style is “ Le'^ Jeunes Oiseleurs” by 
 Lancret at the Hermitage. 
 
 No. 478 . Pastoral Revels. „ „ 
 
 1 ft. \ in, h. by 1 ft. 3f in. 
 
 Z.ANJOEX.Z.E (Charles). 
 
 French School. Born at Laval, in France, in 1816. Painted 
 diiefly historical and Oriental subjects. 
 
 No. 278. An Armenian Woman. 
 
 4 ft. 2 in. h. by 2 ft. 6f in. u*. 
 
 Gallery XT. 
 
LANDSEER— LARGILLIERE. 
 
 67 
 
 XiANDSBXSR (SiE Edwin), R.A. 
 
 British School. Born in London on the 7th March, 1802 ; died 
 there on the 1st October, 1873. Pupil of his father, John 
 Landseer, and afterwards a student at the Royal Academy. He was 
 elected A.B.A. in 1826 ; R.A. in 1830 ; and received the honour of 
 knighthood in 1850. The honour of a public funeral in St. Paulas 
 Cathedral was accorded to him. Landseer had in his time an un- 
 rivalled reputation as a painter of animals and of genre in which 
 animals play an important part. 
 
 No. 267. “ Looking for the Orumhe that fall from 
 
 the Rich Man^s Table.'' Gallery XV. 
 
 S ft. t in. h. by 2 ft. 6 in. %o. 
 
 Exhibited at the Royal Academy in 1859. 
 
 No. 373. A Highland Scene. 
 11 in. h. by 1 ft. 4| in. w. 
 
 
 
 No. 376. The Arab Tent. 
 
 6 ft. i in. h. by 7 ft. 4| in. to. 
 
 No. 589. Portrait of Miss Nellie Power (niece of 
 
 Lady Blessingion ). — Coloured chalks. „ XI. 
 
 XiARGZXiXiZBaB (Nicolas de). 
 
 French School. Born at Paris on the 10th October, 1656. Died 
 on the 20th March, 1746. Largilliere was the pupil, at Antwerp, of 
 Antoine Goubeau ; he subsequently passed over to England, and 
 became the assistant of Sir Peter Lely. He was received at the 
 Academie Royale on the 30th March, 1686. Largilliere was one of 
 the most brilliant portrait painters of the age of Louis XIV. 
 Though he belonged in point of date equally to the succeeding 
 reign, he never completely abandoned the dignified mode of con- 
 ception or the weighty splendour of adjustment which mark the 
 portraits of his earlier maturity. 
 
 No. 122. Louis XIV.^ with his son^ the Ghrand 
 Dauphin., his gra-idson, the Due de 
 Bourgogne., the infant Due d' Anjou, 
 
 Child of the latter (afte 'wards Louis 
 XVf, and Madame de Mainlenon. Gallery XVII. 
 
 4 ft. 2 in. h. by 5 ft. 3 in. w. 
 
68 
 
 LAWRENCE-.LE BRUN. 
 
 IiAWRENCE (Sir Thomas), P.R.A. 
 
 British School. Born at Bristol on the 4th May, 1769. Died 
 in London on the 7th January, 1830. Lawrence was^in the begin- 
 ning self-taught, and showed marvellous precocity. At the age of 
 ten years he set up as a portraitist in crayons at Oxford In 
 1787 he entered himself as a student at the Royal Academy. In 
 1791 he was elected an Associate of that body, and on the death 
 of Sir Joshua Reynolds, in the succeeding year, became Painter to 
 the King. In 1794 he was elected a Royal Academician. After 
 1810, when his friendly competitor Hoppner died, Lawrence knew 
 no rival as a portrait painter, whether in official circles or in the 
 world of fashion. His most interesting and individual perform- 
 ances belong, however, to the years of his youth and earlier 
 maturity. The portraits of his late time, in which pupils often 
 had a considerable part, are relatively superficial and perfunctory. 
 
 No. 39. Miss Siddons {daughter of Mrs. Siddons). Gallery XVl. 
 2 ft. 6^ in. h. by 2 ft. ^ in. w. 
 
 'So. BBS, Portrait of Lady Blessington,. „ „ 
 
 2 ft. 114 in. h, by 2 ft. 3| in. w. 
 
 No. 559- Portrait of King George IV. „ „ 
 
 8 ft. 8| in. h. by 5 ft. 8| in. w. 
 
 XiE ERI7N (Elisabeth-Louise Vigee). 
 
 French School. Born at Paris on the 16th April, 1755 ; died 
 there on the 30th March, 1842. Mile. Yigee was in the first place 
 the pupil of Briard, but also received advice from Doyen, Greuze, 
 and Joseph Yernet. She married at an early age the picture-dealer 
 Le Brun. On the 31st May, 1783, she was received by the Academie 
 Royale. Madame Le Brun, who had been one of the favourite 
 paintera of Queen Marie- Antoinette and her court, travelled 
 throughout Italy during the period of the Great Revolution, then 
 visited Yienna, Dresden, Berlin, and St. Petersburg, and practised 
 her art with great success in these cities. Later on she visited 
 England, Switzerland, and Holland, and then finally settled down 
 in France, where she passed the rest of her life. She composed 
 admirably, and painted with unfailing grace and distinction, if 
 without any deep tenderness or sympathy ; but her colouring 
 is cx)ld and occasionally even harsh ; it lacks harmony as compared 
 with that^of not a few of her predecessors in the 18th century. 
 
LE MOINE. 
 
 69 
 
 Madame Yigee le Brun can be best studied in the Louvre, the 
 Museum of Versailles, and the Uffizi at Florence. The Prado 
 Gallery at Madrid and the Darmstadt Gallery also contain 
 examples of her painting. Very many of her portraits remain 
 in the private collections of France, Russia, Austria, Germany, 
 and England. 
 
 No. 449 . Portrait of a Boy in Red. Gallery XX. 
 
 2 ft. I in. h. by 1 ft. in. w. 
 
 No. 457 . Portrait of Madame Perrigavx. „ „ 
 
 3 ft. If in. h. by 2 ft. 6| in. to. 
 
 ZiE MOZNB (FBANgois) or IiE BIOVNE. 
 
 French School. Born at Paris in 1688 ; died there on the 4th 
 June, 1737. Pupil of Louis Galloche. Received at the Academie 
 Royale on the 30th July, 1718. Le Moine was chiefly a painter of 
 monumental decorations, and especially of vaults and ceilings after 
 the fashion of the Italian masters of the 17th century. His 
 most famous work of this class is the immense “ Apotheose 
 d’Hercule *’ in the Salon of that name at Versailles. Le Moine ’s 
 only serious competitor in art of this order was Jean-Fran9ois de 
 Troy, each of the two distinguished artists having ardent partizans 
 among the connoisseurs of the time. As a result of the 
 incessant labour undergone in connection with his vast under- 
 takings, Le Moine’s mind became unhinged. A few hours after 
 he had finished the canvas “ Le Temps decouvre la Verity,” now 
 in this collection, he put an end to his own life. As the 
 precursor of Boucher, he can be better studied at Hertford House 
 than in any other gallery. His most important work in the Louvre 
 is the “ Hercule et Omphale of the collection Lacaze. 
 
 No. 392 . Time revealing Truth (“ Le Temps 
 
 decouvre la V^rit^ ”). Gallery XVIII. 
 
 5 ft. Hi in. A. by 4 ft. 9 in. w. 
 
 Engraved by Laurent Cars. 
 
 No. 417 . Perseus and Andromeda, „ ,, 
 
 B ft. Ilf in. h. by 4 ft. 9f in. w. 
 
 Engraved by Laurent Cars. This picture bears a singularly 
 close resemblance to the “ Perseus delivering Andromeda,” of 
 Paolo Veronese (or a painter of his schcoP;, now in the Museum 
 of Rennes. This last was formerly in the collection of Louis 
 
 14283— (W.C.) G 
 
70 
 
 I.KPICIE— LEYS. 
 
 XIV. (“ Ancien Cabinet du Roi ”), and may have been seen by Le 
 Moine. 
 
 It was evidently inspired by the “ Perseus and Andromeda ” of 
 Titian in this collection. 
 
 No. 484. The Rape of Europa. Oreat Staircase. 
 
 7 ft. 6 in. K by 8 ft. 11^ in. w. 
 
 This canvas and No. 487 would appear to be 
 the “ Enlevement d’Europe ” and “ Naissance de 
 “ Bacchus ” purchased by the Marquis of Hert- 
 ford at the Paul Perier sale in 1843 as by 
 Boucher. (See Edmond et Jules de Concourt : 
 
 L’Art du XVIII“® Siecle. — “ Boucher.”) 
 
 No. 487 ■ Mercury Confiding the Infant Bacchm 
 
 to the Nymphs. „ „ 
 
 7 ft. 6 in. h. by 8 ft. IO 4 in. w. 
 
 f r 
 
 ZiEPICIS (Nicolas-Bernard). 
 
 French School. Born at Paris in 1735. Died in 1784. The 
 ^on of Bernard L^picie, the noted engraver, and of Ren^e- 
 Elisabeth Marlin, also an engraver. The pupil in painting of 
 Carle van Loo. L^picie became a member of the Academic 
 Royale in 1768, and was afterwards made Painter to the King. 
 
 No. 464. Mother Feeding her Child. Gallery XX. 
 
 54 in. h. by 3| in. w. 
 
 No. 466. The Reading Lesson. „ „ 
 
 64 in. h. by 3f in. w. 
 
 IiEVS (JEAN-Au(iusTE-HENRi), Barou. 
 
 Belgian School. Born at Antwerp in 1814. Died in 1869. 
 Pupil of De Brakeleer. Among his most important works are 
 those in the Hotel de Ville at Antwerp. As illustrating the 
 history of the Netherlands may be mentioned, “ The Institution 
 of the Golden Fleece,” “ Mary of Burgundy Giving Alms,” and 
 “ The Inquisition Proclaimed in the Netherlands.” Leys sought, 
 with great success, to revive, in a free modern adaptation, the 
 Flemish and German styles of the 16th century. 
 
LOO. . ^ ^ 
 
 ^ cJ e/ aU^ , 
 
 No. 275. Guests at a Feast. d€o^e44^^t^/J^{^2^Q,x'^ XV. 
 
 2 ft 2 in. K by 2 ft lOJ in. u,. i _ ^ 
 
 e^ 
 
 ,71 
 
 rc- 
 
 No. 736. Doorway^ Antwerp. — Water-colour. 
 6| in. A. by 4 J in. u). 
 
 XXI. 
 
 ZiOO (Charles-Andr 6, called Carle van Loo). 
 
 French School. Born at Nice on the 15th February, 1705. Died 
 at Paris on the 15th July, 1765. Pupil of his brother, Jean-Bap- 
 tiste van Loo. and afterwards, at Rome, of Benedetto Luti. Carle 
 van Loo subsequently settled with his elder brother in Paris, where 
 he assisted in restoring the paintings of Rosso and Primaticcio at 
 Fontainebleau. He also designed costumes and decorations for the 
 Opera of Paris. In 1727 he returned to Rome, where he executed 
 works of monumental decoration. On the 30th July, 1735, he was 
 received by the Academie Royale, and he then, year by year^ 
 carried off all the official honours of his profession. His last 
 important work was the decoration of a cupola at the Invalides, 
 only the designs for which he was able to complete. Shortly 
 before his death Carl 3 van Loo passed a few months in England. 
 
 No. A51. The Grand Turk gives a Concert to his 
 Mistress Le Grand Seigneur donnant 
 un Concert a sa Maitresse ”). Gallery XX. 
 
 2 ft. 41 in. h. by 2 ft. Ilf in. w. 
 
 Engraved by C. A. Littret in 1766. 
 
 Exhibited under the above title at the Salon of 1737. This 
 picture has hitherto been catalogued. in the Wallace Collection as 
 by Jean-Bap'iste van Loo. 
 
 XiOO (Louis-Michel van). 
 
 French School. Born at Toulon in 1707. Died in Paris on the 
 2Uth March, 1771. Son of Jean-Baptiste van Loo. Received by the 
 Academie Royale on the 25th April, 1733. Philippe V., King of 
 Spain, appointed him court painter. Returning to Paris after the 
 14283— (W.C.) G 2 
 
72 
 
 LUINl. 
 
 death of that monarch he became a favourite at court, and painted 
 the portrait of Louis XY. in his robes of state. This was 
 exhibited at the Salon of 1761. Louis-Michel succeeded his 
 uncle Carle van Loo in some of his ofi&cial posts. Two of 
 the most acceptable works by this painter are his portrait of himself 
 grouped with his family (1757), and that of his uncle Carle van 
 Loo, exhibited in 1765, immediately after the death of the latter. 
 A group of portraits by Louis-Michel van Loo presenting various 
 personages of the Royal House of Spain, is in the Prado 
 Museum at Madrid. Of these the most important is the vast 
 canvas “ The Family of Philip Y.” 
 
 No. 477 . Portrait of Louis XV. in robes of state. Gallery XX. 
 
 This is a reduced version of the original painted as above. A 
 larger original, signed by the artist, belongs to the Earl of Orford. 
 Another repetition of full size is in one of the upper galleries at 
 Yersailles. In a ground-floor gallery of the same palace is a copy 
 in Gobelins tapestry of the original picture, signed “ Michel Yanloo, 
 “ 1760,” and, beneath that signature, “Cozette, 1771.” 
 
 XiUXNZ (Bernardino). 
 
 Milanese School. Born at Luino on the Lago Maggiore about 
 1475. Died after 1533. Developed under the influence of 
 Ambrogio Borgognone and his school, and later on indirectly 
 influenced by Leonardo da Yinci, with whom, however, he cannot 
 well have come in personal contact. Luini excelled both in fresco 
 and oil painting, but his greatest woiks are in the former medium. 
 The most famous of his frescoes are to be found in the Monastero 
 Maggiore at Milan, in the Santuario dell Beata Yergineat Saronno, 
 and in the Church of Santa Maria degli Angeli at Lugano. There 
 are vast altarpieces from his hand at Legnano and in the cathedral 
 at Como. Luini’s exquisite suavity and his inclination to transmute 
 even tragic passion into beauty and grace must not be mistaken 
 for mere weakness or mannerism. He never achieved complete 
 success when he attempted to present dramatic action or violent 
 movement, but he could enwrap his conceptions in an atmosnhere 
 of tenderness and spiritual beauty all his own. Among the 
 European galleries which contain specimens of his art may be 
 specially mentioned the Brera, the Poldi Pezzoli Gallery, the 
 Museum of the Castello, and the Borromeo collection (private), 
 all of them at Milan ; the Louvre ; the National Gallery at Buda- 
 pest ; the Hermitage at St. Petersburg ; and the National Gallery. 
 The two most beautiful Luinis in England are a “ Nativity,” in 
 
MAES. 
 
 78 
 
 the collection of Lord Windsor, and another larger “ Nativity” — 
 the central compartment of a great altarpiece — in that of Mr. 
 R. H. Benson. The celebrated “ Vanity and Modesty,” formerly 
 (as a Leonardo da Vinci) in the Sciarra Palace at Rome, is now in 
 the collection of Baron Edmond de Rothschild at Paris. 
 
 No. 8. The Virgin and Child. Gallery XVI. 
 
 2 ft. 5^ in. h. by 1 ft. 9 in. w. 
 
 An early work of the master. 
 
 No. 10. The Virgin and Child. 
 
 2 ft. in. h. by 1 ft. in. 
 
 From the Pourtales collection, where it was 
 attributed to Leonardo da Vinci, Repetitions of 
 this picture of varying merit, but all greatly inferior 
 to the original, exist in the Hermitage at St. 
 
 Petersburg, in the Czernin collection at Vienna, 
 in the Palazzo Borromeo at Milan, and at Apsley 
 House. A work of Luini’s maturity. 
 
 No. 526. A Child- Genius holding Grapes. 
 
 1 ft, in. h. by 2 ft. in. w. 
 
 A fragment of fresco decoration from the Villa Pelucca, near 
 Monza. Other fragments of the same decoration are in the 
 Louvre, the Brera, and some private collections. 
 
 n » 
 
 ni. 
 
 BIAES (Nicolas). 
 
 Dutch School. Born at Dordrecht in 1632. Buried at Amster- 
 dam on the 24th December, 1693. Maes was the pupil of 
 Rembrandt at Amsterdam between 1648 and 1652. In his later 
 time, after a short sojourn in Antwerp (between 1662 and 1665), 
 he came under the influence of the Flemish school. He practised 
 his art at Dordrecht, and afterwards at Amsterdam. Maes showed 
 himself in his earlier and more forcible style the ablest and most 
 personal of Rembrandt’s pupils. In the portraits of his later time 
 he became vapid and perfunctory, adopting the conventionality of 
 the French style without its elegance or distinction. 
 
 No. 20. Boy with a Hawk. 
 
 2 ft. 7f in. h. by 2 ft. 1 in. w. 
 
 Gallery XVI. 
 
74 
 
 MARILHAT— MARNE. 
 
 No. 96. Boy with a Hawk. Gallery XVI. 
 
 2 ft. 5 in. h. by 1 ft. 8| in. w. 
 
 No. 224. The Listening HousetJojfe. ,, XIII. 
 
 2 ft. 9 in. h. by 2 ft. 3| in. w. 
 
 No. 239. A Hovstwife at Work. 
 
 2 ft. 5 in. h. by 1 ft. Ilf in. w. 
 
 MARIIiKAT (Prosper). 
 
 French School. Born at Thiers in the Puy-de-D6me on the 
 20th March, ISll. Died on the 13th September, 1S47. A pupil 
 of Roqueplan, but further developed in the course of a sojourn in 
 the East. Marilhat, short as was his career, became one of the 
 greatest of Orientalist painters, and in some respects, as this 
 collection shows, more than the equal of Decamps himself. 
 
 No. 293. On the Nile. Gallery XV. 
 
 1 ft. h. by 1 ft. 5i in. w. 
 
 No. 317- Palm Trees. „ „ 
 
 1 ft. 1 in. h, by 9 in, w. 
 
 No. 334. The Erectheum at Athens. „ „ 
 
 2 ft. 4f in. h. by 3 ft. w. 
 
 No. 356. A Scene on the Nile. „ „ 
 
 1 ft. 4| in. h. by 2 ft. 4| in. w. 
 
 MARNE (Jean-Louis de). 
 
 French School. Born at Brussels in 1744. Died at Batignolles, 
 near Paris, on the 24th March, 1829. Pupil of Gabriel Briard. 
 De Marne essayed first historical subjects, then landscape of the 
 classic and seTere order. Ee had more success with the painting 
 into which he introduced animals, and with genre pieces. His 
 best period was between 1792 and 1808. - . .. 
 
MEISSONIER. 
 
 75 
 
 No. 462. Women and Soldiers Revelling. Gallery XX. 
 
 1 ft. 6J in. h. by 1 ft. 10 in. w. 
 
 No. 469. The Elixir. „ „ 
 
 1 ft. in. h. by 1 ft. 11| in. w. 
 
 BISISSONXER (Jean-Louis-Ernest). 
 
 French School. Born at Lyons on the 21st February, 1815. 
 Died at Paris in 1891. Pupil of Julien Pothier and of L^on 
 Cogniet. Meissonier is the most famous “ small master ” of 
 modern France. He rivals in breadth and vigour combined with 
 extreme finish, the greatest of the seventeenth century Dutchmen, 
 among those whom we class as “ small masters,” but does not equal 
 them in beauty of colour, subtlety of illumination, or sympathetic 
 truth of characterisation Meissonier excelled in every phase of 
 dramatic aad costume genre, but was much less successful when, 
 on rare occasions, he depicted scenes and personages of our own 
 time. His military pieces, of which some few are on a com- 
 paratively large scale, but the majority are restricted to the usual 
 small dimensions, are in historic truth, dramatic intensity, and 
 rigorous finish, among the most remarkable performances of their 
 class. Most of his works are in private collections in France, 
 Belgium, England, and the United States. The Luxembourg con- 
 tains a small group < f Meissonier’s less celebrated paintings, 
 together with a large series of drawings and studies. “ La 
 Rixe ” is in the collection of His Majesty the King. The 
 
 larger version of “ 1814 ” belongs to M. Chauchard. The 
 
 Musee Conde at Chantilly contains “ Les Amateurs de Tableaux,” 
 “ La Vedette des Dragons sous Louis XV,” and a very 
 representative piece “ Les Cuirassiers de 1805.” 
 
 No 287- A Musketeer: Time^f Louis XIII. Gallery XV. 
 
 10 in. h. by 6 in. w. ^ /vT 
 
 No. 289. Halting at art if- _ rt <J (p 
 
 7i in. h. by in. to, ^ 
 
 M 
 
 
 No. 290. Napoleon I. and his Staff. 
 5j in. h. by 7 in. w. y 
 
76 
 
 MEISSONIER. 
 
 No. 291. A Cavalier: Time of Louis XIII, Gallery XY. 
 
 9 J in. h. by 6| in. w. off / / 
 
 No. 297. St. John in Patmos. „ „ 
 
 1 ft. in. h. by 8 J in. u). ^ X 
 
 No. 325. The Print Collector (“ L’ Amateur 
 
 d’Estampes ”). Ac ,, „ 
 
 1 ft. 2^ in. h. by Ilf in. to. 
 
 No. 326. The Decameron. Sf J o . 
 
 7 in. h. by 8i in. to. 
 
 No. 327- Ti^e 5moo8 (“ Les Bravi 
 
 /J>^/ 
 
 1 ft. 2\ in. h. by 11 J in. I A 
 
 S~ ■ Btd d*, /iro- 
 
 
 No. 328. The Roadside Inn.^. A*/ tr^ Sa^ y 0 <UaU(c q 3 fg/i? 
 8f in. h. by 1\ in. to. JSgj _ qJ/. 
 
 No. 329. Portrait of Colonel Felix Massue. , ^4^ 
 
 ^”•^6 _ J/"huXt. cl.trw 
 
 in. h. by in. to. 
 
 No. 330, Soldiers Gamiling./Uf-’ie.-tr- 
 8} in. h. by lOf in. to. 
 
 No. 331. A Cavalier : Time of Louis XTV. 
 5| in. h. by 3| in. to. /Jx 
 
 No. 332. A Musketeer: Time of Louis XIII. 
 11 in. h. by 6f in. to. ^ f 
 
 >) II 
 
 No. 337. Polichinelle. 
 
 1 ft. 9f in. h. by 1 ft. 2^ in. to. 
 
 « V) 
 
 No. 369. Dutch Burghers^'iS ■ G/i 
 7^ in. A. by 9i in. to. 
 
 A very early work, which is — s uppo s e d- to be 1 16 f 
 
 Meissonier’s first picture. 
 
 No. 371. The Guard Room. „ ,♦ 
 
 6J in. h. by 7| in. to. X 
 
MERLE— METSU. 
 
 77 
 
 BKBRZiE (HuauES). 
 
 Born in 1823 at St. Marcelin. Died in 1880. Pupil of L^on 
 Cogniet. He achieved in his day a considerable reputation as a 
 painter of romantic and sentimental genre. The picture “ Une 
 “ Mendiante ” by him is, or was, in the Luxembourg Gallery at 
 Paris. He has painted a “ Hagar and Ismael,” a “ Charlotte 
 “ Corday,” a “ Beatrice,” an “ Ophelia,” &c. 
 
 No. 697 • Reading the Bible. 
 
 8| in. h. by lOf in. w. 
 
 miELTSV (Gabriel). 
 
 Dutch School. Born at Leyden about 1630. Buried at Amster- 
 dam on the 24th October, 1667. Son of the painter Jacob Metsu, 
 and believed to have been the pupil of Gerard Dou, at Leyden. 
 He developed under various influences, including especially that of 
 Rembrandt, and at one moment of his career was, it may be 
 surmised, strongly attracted by a slightly younger contemporary, 
 Vermeer of Delft. Metsu practised at Leyden, and afterwards at 
 Amsterdam. He ranks as one of the greatest of the Dutch “ small 
 masters” of the 17th century. Leaving out of the question those 
 two supreme painters, Pieter de Hooch and Vermeer of Delft, who 
 made gradations and contrasts of light their chief study, he has 
 only one equal, Terborch. The latter has a subtler charm of 
 colour and chiaroscuro, but reveals a less forcible dramatic instinct, 
 and altogether less power of invention. 
 
 No. 206. A Woman at her Toilet. Gallery XIV. 
 
 71 in. h. by 6^ in. w. 
 
 No. 234. An Old Woman selling Fish. „ XIII. 
 
 1 ft. 6J in. h. by 1 ft. 3 in to. 
 
 No. 240. The Letter Writer Surprised. „ „ 
 
 1 ft. 51 in. h. by 1 ft. 3 in. w. 
 
 No. 242. An Old Woman Asleep. „ „ 
 
 1 ft. 41 in. h. by 1 ft. If in. w. 
 
78 
 
 MIERIS. 
 
 No. 251. The Sleeping Sportsman (“Le Chasseur 
 
 Endonni”). Gallery XUl. 
 
 1 ft. 4 in. A. by 1 ft, 2 in. 10 . 
 
 MZSaZS (Willem van). 
 
 Dutch School. Bom at Leyden in 1662 ; died there on the 
 27th January, 1747. Pupil of his father, Frans van Mieris the 
 Elder. Willem van Mieris practised his art chiefly at Leyden. His 
 style is marked by an excessive and mechanical poHsli. He 
 hM little of the power of observation or the vigorous charac- 
 terization which distinguish his father. 
 
 No. 156. The Lute Player. Gallery XIY. 
 
 1 ft. 71 in. h. by 1 ft. 4 in. w. 
 
 No. 163. Joseph and Potiphar's Wife. 
 
 I ft. 61 in. h. by 1 f c. in. to. 
 
 No. 176. Lady and Cavalier. 
 
 II in. h. by 81 in. to. 
 
 No. 178. Boy with a Drum. 
 
 1 ft. 11 in. by 10 in. to. 
 
 No. 179. Veyms and Cupid 
 51 in. h, by 71 in. to. 
 
 Signed and dated 1698. 
 
 No. 181. A Nymph. 
 
 51 in. k. by 7J in. to. 
 
 Signed and dated 1698. 
 
 No. 188. Nymph and Satyr. 
 
 101 hi- h. by 81 in. to. 
 
 No. 220. An Old Woman Selling Vegetables. 
 
 1 ft. 31 in. h. by 1 ft. 1 in. to. 
 
 xm. 
 
MIERIS— MIRBEL. 
 
 79 
 
 MZBZIXS (Frans van, the YouNaER). 
 
 Dutch School. Born at Leyden in 1689 ; died there on the 
 22nd October, 1763. Pupil of his father, Willem van Mieris. 
 
 No. 639. Venus Reposing. — Attributed to. Board Room. 
 
 6i in. A. by 6J in. w. 
 
 MZXiANZSSB SCHOOZi (Early 16th Century). 
 
 No. 544. Head of a Youthful Fresco. Gallery III. 
 
 11 J in. h. by 9^ in. w. 
 
 aiZBRBVZ:ZiT (MiCHit^L Jansz). 
 
 Dutch School. Born at Delft on the Is" May, 1567 ; died 
 there on the 27th July, 1641. Pupil of Willem Willemsz, and of 
 Augustyn at Delft, and later of Anthony van Montfoort at 
 Utrtcht. Mierevelt practised his art chiefly at Delft, where he 
 had a host of followers and imitators. His most distinguished 
 pupil was Paulus Moreelse. He was the court painter of the House 
 of Orange, and as such painted also at The Hague. His sober and 
 concentrated style in portraiture, aiming chiefly at objective 
 truth, has its own reserve and dignity. It is based on that of the 
 elder Netherlandish School. 
 
 No. 66. Portrait of a Dutch Lady. Gallery XVI. 
 
 2 ft. IJ in. h, by 1 ft. 8f in. w. 
 
 MZRBEZi (Madame de). 
 
 French School. Born 1796. Died 1849. Chiefly renowned as 
 a miniature painter. 
 
 No. 763. Portrait in water-colour of J, Fenimore 
 Cooper. 
 
 5^ in. h. by 3^ in. w. 
 
 Gallery XI. 
 
80 MORLAND— MORTON. 
 
 No. 764. Portrait in vmter-colour of Sir Wolter 
 Scott. 
 
 in. h. by 3^ in. w. 
 
 Gallery XI 
 
 BIOB.Z1AND (George). 
 
 British School. Born on the 26th June, 1763. DiedinLDndon 
 on thd 29th October, 1804. Pupil of his father, Henry Robert 
 Morland, a painter and engraver of distinction, who is represented' 
 in the National Gallery. Morland married the sister of James 
 Ward, R.A., who was afterwards united to Maria Morland, the 
 painter’s sister. His career as an artist was greatly marred by an 
 indulgence in dissipation, which hastened his death. He expired 
 in a spuoging-house in Eyre Street, Cold bath Fields, in his forty- 
 first year. Morland, though his art at its worst betrays much of 
 superficiality and perfunctoriness, shows extraordinary natural gifts 
 as a painter. His rustic scenes and genre subjects are composed 
 with a felicity which appears instinctive. He expresses the pic- 
 torial element of rusticity with a more naive simplicity and truth 
 than Gainsborough, and with something, too, of his easy mastery 
 and exquisiteness of touch. His colour, within his own self- 
 imposed limits, is ever fresh and harmonious, and his treatment of 
 English landscape of great facility and charm. 
 
 No. 574 , The Visit to the Boarding School. Gallery IX... 
 
 1 ft. Ilf in. h. by 2 ft. 5 
 
 Engraved by W. Ward. 
 
 IKEORTOXV (Andrew). 
 
 British School. Born at Newcastle-on-Tyna in 1802. Died in 
 1845. He came to London, and entered the schools of the Royal 
 Academy. Later on he attracted the attention of the Royal 
 Family, from whom he received several commissions, William IV. 
 sitting to him for a portrait, which is now in Greenwich Hospital. 
 Several portraits by Morton were included in the bequest made 
 by Marianna Augusta, Lady Hamilton, to the Nation, and these- 
 were, between 1892 and 1900, exhibited at the National Gallery. 
 They have since been removed. 
 
MULLER— MURILLO. 
 
 81 
 
 No. 632. The Duke of Wellington with his 
 Secretary, Colonel Gurwood. 
 
 7 ft. r* ^ - 
 
 Entrance Hall. 
 
 mUXiZiBR (Charles-Louis). 
 
 French School. Born at Paris in 1818. Died (?). 
 
 Pupil of L4on Cogniet and Baron Gros. A painter of historical 
 and romantic subjects, of which the best known is “ The Roll-call 
 of the Condemned in the Reign of Terror,” a vast canvas 
 formerly in the Museum of the Luxembourg. 
 
 Spanish School. Born at Seville and baptized on the 1st 
 January, 1618 ; died there on the 3rd April, 1682. Pupil of 
 Juan del Castillo. In 1641 he proceeded to Madrid, and was there 
 kindly received by his fellow-townsman Velazquez. Declining to 
 follow the advice of the latter that he should make the usual art- 
 tour in Italy, Murillo returned in 1645 to Seville, where, in 1648, 
 he married. Having become the acknowledged head of the School 
 he founded there in 1660 the Academy of Painting. Murillo’s 
 finest works are executed in the realistic style proper to the 
 Spanish School of the 17th century, tempered, however, by a 
 peculiar ingenuousness and a charm almost feminine, which, not- 
 withstanding its excess of tenderness, has in it nothing of 
 conscious affectation or insincerity. He had an unerring instinct 
 for graceful and finely balanced composition, but, even in his 
 famous sfumato or vaporous style, he cannot be ranked high 
 among the true colourists. His finest works are at Seville, and 
 in the Academy of San Fernando and the Gallery of the Prado 
 at Madrid. The Louvre, the Alte Pinakothek of Munich, the 
 National Gallery of Buda-Pest, the Hermitage of St. Petersburg, the 
 Dresden Gallery, the Wallace Collection, and the Gallery of ' the 
 Duke of Sutherland at Stafford House, also contain important 
 groups of works from his hand. Mr. Alfred Beit owns the series 
 of canvases “ The History of the Prodigal Son,” which was in the 
 now dispersed Dudley Collection. 
 
 No. 605. An Eastern Woman at her Toilet. 
 
 Ilf in. h. by 10^ in. w. 
 
 Gallery X. 
 
 MURZZiZiO (Bartolom^ Esteban). 
 
82 
 
 MUEILLO. 
 
 No. 3 . The Virgin in Glory with Saints Adoring . — 
 Sketch. 
 
 2 ft. 3 in. h. by 1 ft. 8 in. w. 
 
 Gallery XVI. 
 
 No. 7 - The Assumption of the Virgin . — School of 
 Murillo. 
 
 6 ft. 6 in. h. by 3 ft. 7 in. w. 
 
 
 No. 13 . The Virgin and Child. 
 5 ft. 4^ in. h. by 3 ft. 7 in. w. 
 
 •n »» 
 
 No. 14 . The Marriage of the Virgin. 
 2 ft. 6 in. h. by 1 ft. 10^ in. w. 
 
 
 No. 34 . The Adoration of the Shepherds. 
 
 4 ft. 10 in. h. by 7 ft. in. w. 
 
 11 
 
 No. 46 . Joseph and His Brethren. 
 4 ft. 11 in. h. by 7 ft. 4^ in. w. 
 
 ’» 5 » 
 
 No. 58 . The Holy Family. 
 
 6 ft. 6^ in. h. by 4 ft. 2\ in. w. 
 
 No. 68 . The Annunciation. 
 
 6 ft. 2 in. h. by 4 ft. 4^ in. w. 
 
 } M 
 
 V M 
 
 No. 97 . The Charity of St. Thomas of Villamu'va. - 
 4 ft. 10^ in. h. by 4 ft. 11 in. w. 
 
 »> M 
 
 No. 104 . The Virgin and Child with a Female 
 Saint . — School of Murillo. 
 
 2 ft. 2\ in. h. by 2 ft. 8^ in. w. 
 
 „ XVll. 
 
 No. 105 . The Assumption of the Virgin. — Sketch. 
 2 ft. li in. h. by 1 ft. 3| in. w. 
 
 n »i 
 
 No. 133 . The Virgin and Child . — School of 
 Murillo. 
 
 3 ft. 5J in. h. by 2 ft. 6| in. w. 
 
 j> JJ 
 
 No. 136 . The Virgin and Child . — School of 
 Murillo. 
 
 3 ft. 51 in. by 2 ft. 6| in, w. 
 
 » n 
 
NATTIER. 
 
 NATTX&R (Jean-Marc). 
 
 French School. Horn at Paris on the 17th March, 16B5 ; died 
 there on the 7th November, 1766. Pupil of his father, Marc 
 Nattier, and probably of his godfather, Jean Jouvenet. After 
 the death of Louis XIV'.,in 1715, Nattier proceeded to The Hague, 
 thera painted Peter the Great and several personages of the 
 Russian Court, produced a picture on the subject of the Battle of 
 Pultava, and began the portrait of the Empress Catherine, which, 
 however, remained unfinished. He was received at the Acad^mie 
 Royale on the 29th October, 1718. Having bten ruined in 1720 
 by speculation in the shares of Law’s Bank, he devoted himself 
 exclusively to portraiture, and became one of the favourite artists 
 of the Court and the Painter-in-Ordinary of the R *yal Princesses, 
 especially of the daughters of Louis XV , whom he repiesented 
 under all sorts of mytnological disguises. He occasionally excelled, 
 too, in the portraiture of men, a noble example of his styl in this 
 branch being the “ Comte Maurice de Saxe ” in the Dresden Gallery, 
 rtud another, the “ Buffon,” in the collection of M. Cahen d’Anvers. 
 Nattier was for his time and school a skilful and brilliant colourist, 
 ifis wholly superficial, yet of its kind brilliant and accomplished, 
 art proved to be exactly suited to the Court and the personages 
 of liis time. He betrayed, however, in many of his fashionable 
 portraits d'apparat, and especially in those of Court beauties, a 
 curious incapacity for realising the true individuality of his sitters. 
 N^attier is well represented in the Louvre, but the most extensive 
 colle tion of his paintings is to be found in the Palace of Versailles, 
 where one entire gallery, on the ground floor, is filled with the 
 portraits of the Princesses of the House of France. Four portraits 
 by Nattier are in the Prado Museum at Madrid, two of which 
 present the Duchess de Berry, daughter of the Regent, Philippe 
 d’ Orleans. 
 
 No. 414. A Prince of the Bouse of France. Gallery XVIII. 
 
 2 ft. 8 in. h. by 1 ft. Ilf in. w. 
 
 This portrait has hitherto been catalogued as that of the Due 
 de Penthievre, son of the Comte de Toulouse ; but a life-size 
 original, identical with it in composition, which is in the 
 collection of Mr. H. L. Bischoflfsheim, bears on the back, with 
 the signiture of the artist, the date 1732. In that year the Due 
 de Penthievre was but seven years old, and this personage must 
 be between twenty-five and thirty. There is a tradition that 
 Nattier’s son-in-law, Louis Toeque, collaborated in the execution 
 of thf se pictures. In a small painting of the interior of the Hotel 
 de Toulouse (now Banque de France), by Garneray (Collection 
 
84 
 
 NATTIER -NEEFFS. 
 
 of Comte de Lariboisiere), this same portrait, identical in every 
 particular, is introduced, the scale being, however, that of a large 
 miniature. 
 
 No. 437. Marie Leczinshay Que^of France. Gallery XIX. 
 
 1 ft. 9| in. h. by 1 ft. 7f in. w. 
 
 The repetition, on a much-reduced scale, of the 
 life-size, three-quarter length portrait, of which the 
 original (popularised by the fine engraving of 
 J. Tardieu) is in the museum of Dijon. Better 
 known is the almost exactly similar full-length in 
 the Museum of Versailles, in the right-hand corner 
 of which, however, a royal crown and robe are 
 added as accessories. This last is apparently an 
 atelier work touched by the master. 
 
 No. 453. Portrait of a Lady in Blue. „ XX. 
 
 2 ft. 7f in. h. by 2 ft. 1 in. w. 
 
 No. 456. TAe (Fanciful portrait of Mademoi- „ „ 
 
 selle de Clermont). 
 
 3 ft. 6^ in. h. by 3 ft. in. w. 
 
 Exhibited at the Salon of 1742 under the following 
 title : “ Tin tableau representant le Portrait de 
 “feiie Mademoiselle de Clermont, Princesse du 
 ““ Sang, Surintendante de la Maison de la Reine, 
 “representee en Sultane sortant du Bain, servie 
 “ par les Esclaves.” 
 
 A picture by Nattier of the same class, and re- 
 presenting in a quasi-allegorical fashion the same 
 lady, is the “ Mademoiselle de Clermont aux Eaux ^ . — 
 
 de Chantilly,’’ in the Mus4e Conde at Chantilly. 
 
 No. 461. Portrait of the Comtesse de Dillieres. „ 
 
 2 ft. in. h. by 2 ft. 1 in. w. 
 
 NBBFFS (Peter), the Elder. 
 
 Flemish School. Born at Antwerp shortly after 1577 ; died 
 ihere between 1657 and 1661. Pupil of the elder Steenwyek. 
 The two Francks, Teniers, Jan Breughel, and Van Thulden painted 
 
NEER. 
 
 85 
 
 ttie figures in his interiors. Neeffs was, notwithstanding the 
 extreme formality of his style, one of the most distinguished 
 architectural painters of the Netherlands. 
 
 No. 152. Interior of a Gothic Church. Gallery XIV. 
 
 1 ft. 7i in. h. by 2 ft. I in. to. 
 
 NE£R (Aert or Aernout van der). 
 
 Dutch School. Born at Amsterdam in 1603 ; died there on the 
 9th November, 1677. He practised his art at Amsterdam, but met 
 with little appreciation during his lifetime, and died very poor. 
 The Wallace Collection contains a remarkably representative series 
 of his works. 
 
 No. 167. A River Scene hy Moonlight. 
 
 ^ 1 ft. 7i in. h. by 2 ft. 4| in. eu. 
 
 I No. 159. A Winter Soene. (y 
 1 ft. 10 in. h, by 2 ft. in. w. 
 
 Gallery XIV. 
 
 No. 161. A Canal Scene hy Moonlight. 
 
 1 ft. 11 in. h. by 2 ft. in. w. 
 
 No. 184. Scene on a Canal. „ „ 
 
 6J in, h. by 9J in. w. 
 
 No. 200. A River Scene: Afternoon. „ „ 
 
 9 in. h. by 6| in. w. 
 
 No. 217> A Skating Scene. „ XIII* 
 
 1 ft. 9 in. h. by 2 ft. 2J in. w. 
 
 NEER (Eglon Hendrik van der). 
 
 Dutch School. Born 1635 or 1636 at Amsterdam. Died at 
 Diisseldorf on the 3rd May, 1703. Pupil of his father, the land- 
 scape painter, Aert van der Neer, and of Jacob van Loo, at 
 Amsterdam. Eglon van der Neer practised his art first at Rotter- 
 dam and The Hague, then in Brussels, and lastly at Dusseldorf as 
 
 14283— (W.C.) H 
 
S6 
 
 NESFIELD— NETSCHER. 
 
 Oourt Painter to the Elector Johann Wilhelm of the Palatinate. 
 He followed in genre painting the style of which Frans van Mieris 
 the Elder, is the most prominent representative ; but his art, not- 
 withstanding its mechanical finish and completeness, betrays the 
 decadence of style which showed itself in Dutch art before the 
 close of the 17th century. 
 
 No. 243. Lady in a Red Dress. GlaUery XHl. 
 
 Ilf in. h, by 9f in. w. 
 
 NESFXEZiD (William Andrews). 
 
 British School. Born about 1794. Died 1881. A member of 
 the Royal Society of Painters in Water-colours. Nesfield practised 
 not only as a water-colour painter, but as a landscape gardener. 
 In the latter capacity he attained considerable celebrity, his 
 co-operation and advice being extensively sought for throughout 
 the country. 
 
 No. 703. Kilchurn Castle : Loch Awe. Gallery XXI. 
 
 lOf in. h. by 1 ft. 2 in. w. 
 
 NETSCKER (Caspar). 
 
 Dutch School. Born at Heidelberg in 1639. Died at The 
 Hague on the 15th January, 1684. Netscher came as a child to 
 Holland, and was at Arnheim the pupil of H. Coster, and later on, 
 at Deventer, the pupil of Gerard Terborch. He was domiciled at 
 The Hague, but resided between 1659 and 1662 at Bordeaux. 
 Netscher lacked the strong personality, the mastery and variety of 
 the greatest among the “ Small Masters ’’ of Holland, yet sho\?ed a 
 finesse and elegance of his own in the treatment of genre. 
 
 No. 167. Portrait of a Lady. Gallery XIV. 
 
 1 ft. in. h. by 1 ft. 3 in. w. 
 
 No. 204. A Dutch Lady „ „ 
 
 6f in. h. by 5f in. w. 
 
 No. 212. Portrait of a Child. „ XIII. 
 
 1 ft. 2 in. h. by 10| in. w. 
 
 No. 214. A Lady playing the Guitar. „ „ 
 
 1 ft. 2 in. h. by 11 in. w. 
 
NEWTON— NUYEN. 
 
 87 
 
 No. 237- The Lace Maher. Gallery XIII. 
 
 1 ft. 1 in. h. by l')f in. w. 
 
 Signed on the pict are-frame “ C. Netscher, 1664.” Engraved by 
 “ P. de M.” 
 
 This unusually broad, vigorous, and masterly work will not 
 be immediately recognised as a Netscher. It shows, however, great 
 analogy of style and execution with two genre pieces by Netscher 
 “ Die Spinnerin ” (No. 1352) and “ Die Naherin ” (No. 1353) in the 
 Dresden Gallery, and must be from the same hand. 
 
 NEWTON (Gilbert Stuart), R.A. ' 
 
 British School. Born at Halifax in Nova Scotia in 1794. Died 
 at Chelsea on the 5th August, 1835. A. R.A. in 1828, R.A. in 
 1832. Among his better known works are “ Captain Macheath,” 
 exhibited in 1826, and “ Abelard in his Study,” exhibited 
 in 1833. 
 
 No. 617. Portrait of a Lady. Gallery X. 
 
 1 ft. h. by 9| in. w. 
 
 This picture has been hitherto catalogued as “Lady Theresa 
 Lewis,” but the correctness of the description has been questioned 
 by the family of that lady. 
 
 NORTH XTAIiZAN SCHOOZi (16th Century). 
 
 No. 541. Portrait of a Gentleman. Gallery III. 
 
 2 ft 8| in. h. by 2 ft. I in. w. 
 
 No. 512. Young Man holding a Viol. „ ., 
 
 3 ft. f in A. by 2 ft. 2i in. w. 
 
 NUVEN (Wynand Jan Joseph) 
 
 Modern Dutch School. Born at The Hague in 1813. Died in 
 1859. Pupil of Andreas Schelfhoub. Nuyen painted landscapes, 
 views of towns, and sea-pieces with considerable success. He was 
 a member of the Academies of Antwerp and Amsterdam. 
 
 No. 310. River Scene (“ Le Coup de Canon ”). Gallery XV. 
 
 2 ft. 11 in. h. by 3 ft. 9 in. w. 
 
 Bought at the sale of Baron Brienen de Grootelindt for 10,000 
 francs. 
 
 14283— (W.C.) H2 
 
OSTADE. 
 
 OSTADB (Adriaen van). 
 
 Dutch School. Baptized at Haarlem on the 10th December, 
 1010 ; buried there on the 2nd May, 1685. Pupil of Frans Hals, 
 but strongly influenced after 1640 by Rembrandt, and perhaps also 
 by Adriaen Brouwer. Adriaen von Ostade practised his art at 
 Haarlem. The quality of his painting, both in the cooler tonality 
 which marks his earlier time, and the more golden which was 
 adopted in the period of his maturity under the influence of 
 Rembrandt, is hardly surpassed by any painter of his age 
 and nationality. His genre becomes, nevertheless, to a great 
 OBctent conventional, from the too persistent repetition of a few 
 ^pes, often bordering on caricature, and the too great monotony in 
 the choice of motives. In finesse of observation and variety he 
 cannot compare with Adriaen Brouwer. 
 
 No. 169. Interior with Peasants. Gallery XIV. 
 
 1 ft. 1 in. h. by 1 ft. 3^ in. w. 
 
 No. 202. Buying Fish. „ „ 
 
 1 ft. 3f in. h. by 1 ft. 2 in. w. 
 
 No. 756. Interior : Boors Carousing. „ XI. 
 
 1 ft. 54 in. h. by 1 ft. 3^ in. w. 
 
 After Adriaen van Ostade. The original signed, and dated 
 1660. is No. 1396 in the Dresden Gallery. 
 
 OSTADB (ISACK van). 
 
 Dutch School. Baptized at Haarlem on the 2nd June, 1621 ; 
 died there on the 16th October, 1649. Pupil of his brother 
 Adriaen. He practised at Haarlem. Isack was wonderfully 
 productive during his short life of twenty-eight years. Many of 
 his best works are in England. The National Gallery shows no 
 less than four examples of his art ; two unusually fine landscapes, 
 with figures, by him are in the collection of Mr. Alfred de 
 Rothschild ; and an important picture of the same class, in which 
 he collaborates with his brother Adriaen, is to be found at 
 Dorchester House. His genre is mainly an echo of that of his 
 brother, but his landscape is quite personal, and easily recognisable 
 from the peculiarity of the sparkling touch. He is at his best 
 in his winter scenes, of which this collection contains perhaps the 
 finest. 
 
OUDRY. 
 
 89 
 
 No. 17. A Market Place. Gallery XVI. 
 
 1 ft. 10 J in. h. by 2 ft. in. w. 
 
 No. 21. A Village Scene. jt n 
 
 2 ft. If in. k. by 2 ft. 8f in. w. 
 
 No. 73. A Winter Scene. „ „ 
 
 2 ft. 9 in. A. by 3 ft. 6 in. w. 
 
 OUDRY (Jean-Baptiste). 
 
 French School. Born at Paris on the 17th March, 1686. Died at 
 Beauvais on the 30th April, 1755. Pupil first of his father, Jacques 
 Oudry, afterwards of De Serre, and finally of Largilliere, who 
 watched over him with paternal care. This great portrait-painter 
 advised his favourite to relinquish portraiture for the representa- 
 tion of animals and still-life. Oudry was received at the Acad^mie 
 Royale on the 25th February, 1719. He became one of the 
 favourite painters of Louis XV. Among his official appointments 
 were those of Director of the Beauvais Tapestry Works and 
 Inspector-in-chief of the Gobelins. Of the Beauvais manufacture 
 Oudry effected a complete regeneration. He himself supplied the 
 cartoons for some of the most celebrated series of furniture 
 tapestries, and among them for the Fables de La Fontaine (see tl^ 
 furniture in Galleries I. and II. of this collection), the Amusements 
 ChampHres, the Chasses, and the Comidies de Moliere. He further 
 designed for the Royal Manufactory of the Gobelins in 1733 and 
 the succeeding years, the great series of tapestries Les Chasses de 
 Louis XV. ^ the piece in which the artist has represented himself in 
 the act of drawing being signed “ Peint par J. B. Oudry, 1738.” This 
 important work represents the highest level of Oudry ’s achieve- 
 ment in decorative composition. There is a set of these tapestries 
 at Fontainebleau, and another much finer and more complete in 
 the Museo Nazionale at Florence. His favourite subjects for oil 
 paintings were incidents in connection with sport, sporting dogs, 
 and still-life. It was the fashion to call him the “ La Fontaine 
 of Painting.” In closeness of observation and thoroughness ef 
 working out, and in the rendering of landscape backgrounds, he 
 was often inferior to the Dutch painters of the 17th century, who 
 treated similar subjects. He as often surpassed them, however, 
 in the breadth and freedom of his execution, as well as in the 
 freshness of his colour. As a painter of still-life, he showed 
 much of the power and richness of touch which afterward? 
 distinguished Chardin. The Louvre and this collection contain 
 
^0 
 
 PAPETY. . 
 
 remarkable examples of his art as a painter ; ^ut the most 
 complete series of canvases from his brush is that painted 
 expressly for the Duke of Mecklenburg-Schwerin, who built a 
 gallery to receive them. This group of more l^an forty 
 paintings by Oudry is now in the Museum at Schwerin. 
 
 No. 623. Dogs and Dead Game. Dallery XI. 
 
 6 ft. 4| in, h. by 4 ft. 2^ in. w. 
 
 No. 624. A Hawh Attaching Wild Duch. „ „ 
 
 6 ft. 4f in. h. by 4 ft. 2 in. w. 
 
 No. 625. Dog and Pheasants. ,, ,, 
 
 3 jft. 101 hi. h, by 4 ft. 11 J in. tv. 
 
 No. 626. Dogs and SUll-Life. „ 
 
 6 ft. 3 in. h. by 8 ft. in. w. 
 
 One of the masterpieces of the painter. 
 
 No. 627. A Hawh Attaching Partridges. „ „ 
 
 3 ft. lOf in. h. by 4 ft. 11^ in. w. 
 
 No. 629. A Fox in the Fa/rmyard. „ „ 
 
 3 fii. 9f in. A. by 4 ft. 11^ in. w. 
 
 No. 630. A Terrace with Dogs, and Dead Game. „ „ 
 
 6 ft. 2| in. h. by 8 ft. 4J in. w. 
 
 No. 631. Wild Duch Aroused. „ 
 
 3 ft. lOi in. h. by 4 ft. Hi in. w. 
 
 PAPSTY (Dominique-Louis-F^r:^ol). 
 
 French School. Born at Marseilles in 1815. Died in 1849. 
 J0e painted historical, romantic, and genre subjects. 
 
 No. 567. An Italian Contadina. Gallery IX. 
 
 1 ft. I in. h. by 9^ in. w. 
 
 No. 600. “ He Loves me., Loves me not.'* „ X 
 
 ft. 1 in. h. by 9i in. w. 
 
SCHOOL OF PARMA— PATER 
 
 dl 
 
 No. 611. The Temptation of St. Hilarion. Gallery X. 
 
 1 ft. 6i,in. h. by 1 ft. Hi in. w. 
 
 No. 673. Roman Contadina and Child. — ^Water- 
 
 colour. „ XXII. 
 
 9^ in. h, by 7| in. w. 
 
 No. 711. A Japanese Girl. — Water-colour. n „ 
 
 8| in. h. by lOJ in. w. 
 
 SCKOOXi OF PARMA (16th Centubt). 
 
 No. 552. The Holy Family. Gallery HI. 
 
 8J in. h. by 5^ in. w. 
 
 This little piece is in the style of Parmigianino, yet too smooth 
 to be from his hand. It may be by Girolamo Bedoli Mazzola. 
 
 PATSR (Jean-Baptiste- Joseph). 
 
 French School. Born at Valenciennes in 1696. Died at Paris 
 on the 25th July, 1736. Pupil of his fellow-townsman Watteau, 
 whose impatient and irritable disposition was the cause that Pater 
 did not remain long with him. Watteau in the last months of his 
 life repented of his injustice, frankly owning that he had feared the 
 possible development of his pupil’s ability. He then sent for him, 
 and as long as his strength endured continued to give him lessons. 
 Pater subsequently declared that this was the only fruitful 
 teaching that .he had ever received. Like that of Watteau, 
 though in another fashion, the character of Pater was strangely 
 at variance with his work. He lived under the constant appre- 
 hension that his health might give way before he had secured a 
 competency, and laboured day and night to amass wealth. The 
 result was that he died, worn-out, at the age of forty. Pater was 
 received at the Academie Royale on the 31st December, 1728, on 
 presentation of a “ Rejouissance de Soldats.” Although high 
 rank has been accorded to him as a painter of FHes Galantes, 
 his art cannot be regarded as more than a faint echo of that of 
 his master. He had no genuine artistic personality of his own, 
 yet he maintains a place beside his more gifted contemporaries in 
 
92 
 
 PATER. 
 
 virtue of the delicacy and sparkle of his colour, the evenness and 
 brilliancy of his general tone, and the essentially decorative aspect 
 of his works. By far the most remarkable series of Pater’s 
 paintings is to be found in the Royal Prussian palaces in and near 
 Potsdam. The Wallace Collection comes next, but with a wide 
 interval. Characteristic examples of his art are to be found in the , 
 Lacaze Collection now in the Louvre, at Buckingham Palace, in 
 the National Gallery of Scotland, the Jones Collection at the 
 Victoria and Albert Museum, th^ Arenberg Collection at Brussels, 
 the Museum of Angers, and especially m the collections of the 
 Marquise de Lavalette, Mr. Alfred de Rothschild, and Miss Alice 
 de Rothschild. 
 
 No. 380. Conversation Galante. ^ ^ (f€iA/4^ Gallery XVIII* 
 
 1 ft. 8^ in. h. by 2 ft. f in. to. 
 
 No. 383. F^te ChampHre. cU ^ 
 
 1 ft. 101 ill* ^* hy 1 ft. 6 in. to. 
 
 No. 388. The Swing. „ 
 
 1 ft. 10 in. h. by 1 ft. 6 in. to. 
 
 No. 397. The Dance. „ „ 
 
 1 ft. 101 in* h. by 1 ft. 6 in. to. 
 
 No. 400. Blind, Man^s Buff. (“ Le Colin Maillard ” „ „ 
 
 or “ Les Plaisirs de la Jeunesse.” En- 
 graved by Filloeul — 1738.) 
 
 1 ft. lOJ in. h. by 1 ft. 6 in. to. 
 
 No. 405. The Boudoir. ^ 
 
 1 ft. 4 in. h. by 1 ft. 3f in. to. 
 
 No. 406. Conversation Galante. ^ „ , 
 
 2 ft. 1 in. h. by 2 ft. 74 in. to. 
 
 No. 420. The Ball (after Watteau), « 4 
 
 1 ft. 94 in. h. by 2 ft. 24 in. to. cUc due. 'Ucen^ _ /ffdS 
 
 No. 424. FHe in a Park, 
 
 1 ft. 8f in. h. by 2 ft. I 4 in. to. 
 
 No. 42 6 i Bathing Party in a Park. 
 
 2 ft. i in. h. by 2 ft. 10 in. to. 
 
 No. 462. F^te Galante.. /US- O.s/ , 
 
 
 1 ft. 8f in. h. by 2 ft. 1 in. to. 
 
 
 
PETTENKOFEN— PLATZER. 
 
 9a 
 
 No. 458. Conversation Galante. Gallery XX. 
 
 1 ft. 5| in. h. by 1 ft. 2f in. w. 
 
 No. 460. A Camp Scene (“Les Vivandieres ”).<^ Ch/ce^^ 
 
 J7^ 1 ft. 6} in. by 1 ft. 10| in. m>. ^ 
 
 Bought by Sir Richard Wallace, in 1872, at 
 the Vente Pereire for 18,500 francs. 
 
 No. 472. The Bath. „ 
 
 1 ft. in. h. by 1 ft. IJ in. to. 
 
 PCTTBNXLOFEN (August von). 
 
 German School. Born at Vienna in 1821. Died in 1889. 
 
 No. 338. Robbers in a Cornfield. 
 
 Hi in. h. by 9^ in. w. x V’J- ^dJcutcc/o^ 
 
 Gallery XV. 
 tT. o-gxc a 
 
 PXZiS (Adrien-Auguste-Isidore). 
 
 French School. Born at Paris in 1813. Died in 1875. Pupil 
 of Picot. Pils obtained the Grand Prix de Rome in 1838. He 
 began by attempting sacred art, but after a visit to the Crimea 
 devoted himself to Eastern and military subjects. 
 
 No. 621. The Surprise. Gallery X. 
 
 in. h. by 9| in. to. 
 
 No. 665. An Arab Encampment. — Water-colour. „ XXTI. 
 
 9f in. h. by 1 ft. 1| in. to. 
 
 PZiATZXSR (Johann Georg Platzer or Plazer). 
 
 German School. Born at Eppan in the Tirol in 1702. Died at 
 St. Michael in the Tirol in 1760. Platzer received his artistic 
 education and development in Vienna, where he continued to 
 practise. He painted mythological and historical subjects with 
 extreme finish in a turgid style, arraying his personages in the 
 strange p^eudo-cla'^sic costumes affected by painters of the Barocco 
 
u 
 
 POLLAI¥OsLO‘-POT. 
 
 period. He painted almost invariably on copper. Two remark- 
 able specimens of his extravasrance and his extreme elaboration are 
 the “ Battle of Actium ” and “ Death of Cleopatra,” at Apsley 
 House. 
 
 No. 634. The Rape of Helen. Gallery XI. 
 
 1 ft. in. h. by 1 ft. 11 in. w. 
 
 POXi&AXUOXiO (Antonio Pollaiuolo, or del Pollaiuolo). 
 
 Florentine School. Born at Florence about 1429. Died at Rome 
 on the 4th February, 1498. Pupil in the first place of the goldsmith 
 Bartoluccio, but influenced in painting by Andrea del Castagno. 
 He was in the first place a sculptor, goldsmith, draughtsman, 
 and engraver though he practised also as a painter, in 
 some few instances alone, but chiefly in collaboration with 
 his brother Piero. Antonio Pollaiuolo represents with absolute 
 authority the austere and passionate side of Florentine Quattro- 
 cento art, and is thus to be grouped in his proper order with 
 Donatello, Andrea del Castagno, and Andrea Verrocchio. 
 
 No. 762. Lamentation over a Dead Hero or 
 Martyred Saint (?) — Preliminary 
 Design in the Nude. — Pen and 
 Bistre. Gallery IH. 
 
 The pen outlines of the figures have apparently been traced, or 
 retraced, by an inferior hand, not that of the master himself. 
 
 POT (Hendrick Gerritsz). 
 
 Dutch School. Born at Haarlem about 1585. Died at Amster- 
 dam in October, 1657. Probably a fellow-student of Frans Hals 
 in the atelier of Karel van Mander, and developed under the 
 influence of the former master. Pot was for a short time in London 
 about 1632, but practised chiefly in Haarlem and Amsterdam. He 
 is sometimes known as “The Monogrammist HP” (see Bode: 
 “ Hollandische Malerei,” p. 157, Ed 1883), There is a small full- 
 length portrait of Charles I. by Hendrick Pot in the Louvre, dated 
 1632. The Royal Gallery at Hampton Court contains (No. 634) a 
 humorous genre picture by him catalogued as “A Startling 
 Introduction.” 
 
POTTER— POURBUS. 
 
 95 
 
 No. 192. Ladies and Cavaliers at Cards. Gallery XIV. 
 
 1 ft. 11 in. h. by 2 ft. 7 in. w. 
 
 ^gned with the monogram HP. 
 
 POTTER (Paulus). 
 
 Dutch School. Baptized on the 20th November, 1625, at 
 Enkhuizen. Buried at Amsterdam on the 17th January, 1654. 
 Pupil of his father, Pieter, in Amsterdam, and of Jacob de Wet 
 at Haarlem. Potter, during his short life, practised his art at 
 Delft, The Hague, and Amsterdam. He is unrivalled among the 
 masters of the 17th century in the precision, finesse, and 
 dramatic force with which he characterises and individualizes 
 cattle and domestic animals generally. Some of the finest examples 
 of his work are to be found at The Hague, the Hermitage at 
 St. Petersburg, the Louvre, and in some private collections, 
 including those of Bridgewater House and Grosvenor House. 
 
 No. 189. Herdsmen with their Cattle. Gallery XIV. 
 
 1 ft. 24 in. h, by 1 ft. in. w. 
 
 No. 219. The Milkmaid. „ XIII. 
 
 1 ft. 2 i in. h. by 1 ft. 7^ in. w. 
 
 No. 252. Cattle in Stormy Weather. „ „ 
 
 1 ft. 2 J in. h. by 1 ft. 1 in. w. 
 
 POVRBUS (Pieter). 
 
 Flemish School. Born at Gouda between 1510 and 1513. Died 
 at Bruges on the 30th January, 1584. Pour bus established 
 himself at Bruges, where he painted historical and allegorical 
 subjects and portraits. He chiefly excelled as a portrait-painter 
 in the severe and sharply characterised Netherlandish style of the 
 16th century. This painting is his most remarkable effort in a 
 style combining allegory with idealised portraiture. It is signed, 
 and bears the artist’s monogram. His works are chiefly to be 
 found at Bruges and in the Imperial Gallery at Vienna. A 
 “Resurrection of Christ,” signed, and dated 1566, is in the 
 Louvre. 
 
96 
 
 POURBUS— POUSSIN. 
 
 No. 531. An Allegorical Love Feast, ^ Gallery III. 
 
 4 ft. 4|^ in. h. by 6 ft. 8f in. w. 
 
 The personages represented are (according to the names affixed 
 to them) Pasithea, Aglaia, and Buphrosyne (two out of the Three 
 Graces — one of the Goddesses being by mistake twice named, 
 under different designations) ; Affectio, Cordialitas, Fiducia, and 
 Reverentii ; Adonis, Daphnis, Sapiens, and one other male 
 personage, whose name is not now decipherable. In the left 
 corner lies Cupid, in the right is shown the Fool with his bauble. 
 The allegory teaches that Love and Folly are for Youth, but that 
 the greybeard, wise through experience, contents himself with 
 mutual respect and confidence. For Youth, are both the sensuous 
 and the higher graces of life ; for Old Age, only the latter. 
 
 POURBUS (Fbans), the Elder. 
 
 Flemish School. Born at Bruges in 1545. Died at Antwerp on 
 the 19th September, 1581. Pupil of his father, Pieter PourbuB, 
 and of Frans Floris, whose niece he married. He excelled in the 
 painting of portraits and practised also historical art. 
 
 No. 26. Portrait of a Gentleman. Gallery XVI. 
 
 3 ft. 2 in. h. by 2 ft. 3f in. w. 
 
 POUSSIN (Gaspard Dughet, called Gaspard Poussin, 
 or “ Le Guaspre *’). 
 
 French School. Born at Rome of French parents in 1613 ; died 
 there on the 25th May, 1675. Pupil of his brother-in-law, Nicolas 
 Poussin. Gaspard was second only to that great master and to 
 Claude Lorrain as the poetic interpreter of Italian scenery. Fine 
 and numerous groups of his works are to be found at the Church 
 of San Martino al Monte at Rome, in the Doria and Colonna 
 Palaces in that city, and at the National Gallery. 
 
 No. 139. The Flails of Tivoli. Gallery XVII. 
 
 3 ft. 3 in. h. by 2 ft. 8 in. w. ^ 
 
 POUSSIN (Nicolas). 
 
 French School. Born at Les Andelys in Normandy in June, 
 1594. Died at Rome on the 19th November, 1665. Pupil of 
 
PREDIS. 
 
 97 
 
 Quentin Tarin, L’Allemand, and others, but further developed 
 by the study of Raphael’s compositions. Poussin visited Rome 
 in 1624, and there formed an intimacy with Du Quesnoy (II 
 Fiammingo). He also frequented the academy of Domenichino. 
 His first period of maturity was marked by the production of 
 classic and biblical subjects, treated with great severity and 
 grandeur, in a system of harshly contrasted colours. Poussin went 
 to Paris in 1640 with M. de Chantelou, and was there graciously 
 received and employed by Louis XIII. and Cardinal Richelieu. His 
 return to Italy was, however, accelerated by the intrigues of 
 Simon Vouet, Feuquieres, and the architect Mercier, of which he 
 has perpetuated the memory in the ceiling-picture “ Le Temps 
 soustrait la Verity aux atteintes de I’Envie et de la Discorde ” 
 (Louvre). Poussin’s colouring became softer and his capacity for 
 suggesting atmosphere greater, after his return from Paris, and 
 be then produced such masterpieces as the “ Echo et Narcisse ” 
 and “ Les Bergers d’Arcadie,” in the Louvre. Finest of all his 
 works in conception and design, if not in realisation, are the 
 solemn conceptions of his last years. Noticeable among these last 
 are the series of four canvases “ The Seasons ” and the beautiful 
 unfinished composition “ Apollo and Daphne ” — all of them in the 
 Louvre. A great number of Poussin’s most important works are 
 in England, most of them, however, belonging to the earlier time. 
 The National Gallery, the Dulwich Gallery, and the collections of 
 the Duke of Portland at Belvoir Castle, and of the Earl of Ellesmere 
 at Bridgewater House, are especially rich in his works. An 
 .important series of paintings from his hand is to be found in the 
 Museum of the Prado at Madrid. 
 
 No. 108 . The Dance of the Seasons. ^ Gallery XVII. 
 
 2 ft. 8^ in. h. by 3 ft. in. w. 
 
 &xac/e-uceM/- ^ 
 
 PRBDIS (Cristoforo de). 
 
 Milanese School. A miniature painter, born at Modena, but 
 belonging, if he be judged by style, to the elder branch of the 
 Milanese School. He flourished in the latter half of the 15th 
 century, and is believed to have been the father of the noted 
 Milanese painter Ambrogio de Predis, whose name and works were 
 some twenty years ago rescued from oblivion by the celebrated 
 Italian critic Giovanni Morelli (Ivan Lermolieff). There is a 
 ■very fine miniature by Cristoforo signed “Opus Xpofori de 
 Predis,” and dated 1474, in the Royal Library at Turin. The 
 
98 
 
 PRUD’HON. 
 
 only other miniatures certainly from his hanP are in the Church 
 of the Madonna del Monte above Yarese and in the Ambrosiani 
 Library at Milan. 
 
 No. 769. Galeazzo Maria Sforza^ DuTce of Milan^ praying for 
 Victory . — Illumination on Yellum. 
 
 Signed, on the gold ground, “ OPUS XPSTOFORI DE 
 PREDIS, YII DIE APRILIS, 1475.” 
 
 1 ft. 24 in. h. by 9^ in. w. Gallery III. 
 
 PRUD’KON (Pierke-Paul). 
 
 French School. Born at Cluny on the 4th April, 1758. Died 
 at Paris on the 16th February, 1823. Pupil of Devosges at Dijon. 
 Prud’hon travelled in Italy, and received from the works of 
 Leonardo da Vinci, Raphael, Andrea del Sarto, and Correggio an 
 indelible impression. In an age dominated by the false classicality 
 and the artificial mode of conception of Jacques-Louis David and 
 his school, Prud’hon remained the only true painter. While 
 adopting in a modified form their standpoint, which was that of 
 his time, he combined with it the magic of chiaroscuro and 
 the flexibility of life. Among his most celebrated works are 
 “La Justice et la Vengeance divine poursuivant le Crime,” 
 “ L’ Assomption de la Vierge,” “ Le Christ en Croix,” the 
 “Portrait de Madame Jarre,” and the ceiling “ Diane implorant 
 Jupiter” — all of them in the Louvre. The Museum of Dijon 
 contains a fine series of male portraits by him, as well as a great 
 ceiling, adapted from one by Pietro da Cortona in the Barberini 
 Palace at Rome. Outside the \\ allace Collection Prud’hon is 
 almost unrepresented in England. Nowhere does he show himself 
 a greater master than in his drawings, of which magnificent series 
 are to be found in the Louvre and the Musee Conde at Chantilly. 
 
 No. 264. Puppies (“ Oh ! les jolis petits chiens” !). Gallery XV. 
 
 8 in. h. by 64 in. w. 
 
 Engraved by Roger. An early work of the master. 
 
 No. 272 . The Assumption of the Virgin. „ „ 
 
 11| in. by 10^ in. w. 
 
 Finished sketch for the picture exhibited at the Salon of 1819, 
 and now in the Louvre. 
 
 Another similar sketch is in the Marquand section of the Metro- 
 politan Museum of New York. 
 
PTNACKER. 
 
 99 
 
 No. 295. (“ JeuneZ4phyr se balan^aut 
 
 au-dessus de I’eau ”). Gallery XV. 
 
 8J in. h. by 6^ in. w. 
 
 The life-size oriAnal of this subject, by Prud’hon, 
 appeared at the Silon of 1814 as the property of 
 M. de Sommariva. A life-size sketch in oils for that 
 ca ivas belongs to the J^ron de Schlichting. Both 
 of these paintings ari inferior in charm and 
 accomplishment to this small version in the Wallace 
 Collection. 
 
 No. 313. Maternity (“ La Mere heureuse ”). 
 
 9 in. h. by 6f in. w. 
 
 Prud’hon’s pupil and companion, Mile. Constance 
 Mayer, enlarged this subject into a canvas with 
 life-size figures, which is now in the Louvre under 
 the same title. 
 
 No. 315. Portrait of Josephine Beauharnais (after- 
 wards the Empress Josephine). „ „ 
 
 1 ft. 11 in. h. by 1 ft. 6| in. w. 
 
 No. 347. Venus and Adonis. /‘j~ „ „ 
 
 7 ft. 104 in. A. by 5 ft. 6 in. ^ 
 
 Engraved by Normant fils. Lithographed by Jules 
 Boilly and by Sirouy. 
 
 Exhibited at the Salon of 1812. In the Mus^e 
 Cond4 at Chantilly is an original repetition of the 
 figure of Venus, in half-length only. The sketch in 
 oils for the whole work — much praised by the 
 Goncouyts— is in the Marcille Collection. . _ 
 
 No. 348. The Sleep of Psyche. „ „ 
 
 3 ft. 1 1 in. h. by 4 ft. 9^ in. w. 
 
 (a sketch for, or reduced version of, this picture is in the Mus4e 
 Cond^ at Chantilly. 1 y 
 
 fiuA ^ J _ 
 
 ^ ocu - /<- fl-cCiye^ , (£ A 
 
 tii, PYNj!LC1^&ZL (Adam). ~A- 
 
 Cf^ <f4 ^ ^ ^ / 
 
 Dutch School. Baptized on the 13th February, 1622, at 
 Pynacker near Delft. Buried at Amsterdam on the 28th March, 
 
100 
 
 RAFFET. 
 
 1673. Developed chiefly under the influence of Jan Both. 
 Pynacker visited Italy in youth, and spent much time in Rome ; 
 he practised afterwards at Delft, Schiedam, and Amsterdam, 
 taking very often Italian motives for his landscapes. 
 
 No. 57. Landscape with Animals. Gallery XYI. 
 
 3 ft. 11 in. h. by 3 ft. in. w. 
 
 No. 116. Landscape with Cattle. „ XVII. 
 
 2 ft. 7^ in. h. by 2 ft. 3^ in. w. 
 
 RAFFET (Denis-Auguste-Makie). 
 
 French School. Born at Paris in 1804. Died in 1860. Pupil 
 of Baron Gros, and of the military draughtsman and painter 
 Charlet. Raffet was without a rival in the rendering of the battle 
 scenes and military subjects of the First Republic and the First 
 Bmpire. The heroic ardour of these, undiminished by the realistic 
 truth of the delineation, is hardly paralleled in modern art. 
 Living and working in the Romantic period, and seeing his 
 favourite subjects from a certain distance, he was able to impart 
 to them with the utmost dramatic passion, an almost epic breadth 
 and grandeur. He also achieved success in his studies of Russian, 
 Caucasian, and Italian types and incidents of his own time. He is 
 pre-eminent above all as a lithographer. 
 
 No. 731. Soldiers of the Republic. — Water-colour. Gallery XXL 
 81 in. h. by 5| in. w. 
 
 The Trial of Queen Marie- Antoinette. „ „ „ 
 
 6| in. h. by 4| in. w. 
 
 No. 744. French Infantry in Square. „ „ „ 
 
 31 in. h. by 5 in. w. 
 
 No. 745. Napoleon after Austerlitz. „ „ „ 
 
 in. h. by 6 in. w. 
 
 No. 747. St. Jean d' Acre. „ „ 
 
 31 in. A. by 4 1 in. w. 
 
RAMSAY— REMBRANDT. 
 
 101 
 
 RAMSAY (Allan). 
 
 British School. Born at Edinburgh in 1713. Died at Dover 
 in August, 1784. He studied first at the St. Martin’s Academy, 
 and in 1736 went to Italy, where he was first the pupil of Solimena, 
 then of Imperiali. On his return he established himself at Edin- 
 burgh, whence about 1762 he migrated to London. He was intro- 
 duced by his fellow-countryman. Lord Bute, to George, Prince 
 of Wales (afterwards George III.), who, in 1767, a few years 
 after his accession, appointed him Painter-in-Ordinary. ’ He 
 executed throughout his career numerous portraits of that 
 monarch and of his consort, Queen Charlotte. Ramsay was a 
 respectable painter of solid accomplishment, who at his best showed 
 much of the completeness and also of the coldness which marked 
 the French and Italian portraiture of the period to which he 
 belonged. Sir Joshua Reynolds, who Was on friendly terms with 
 him, used to say : — “ There’s Ramsay, a very sensible man, but 
 “ he is not a good painter.” He is not at present represented in 
 the National Gallery, but curiously enough has found a place 
 in the British section of the Louvre. 
 
 No. 560. Portrait of King George 1 II. Gallery I. 
 
 2 ft. 71 in. h. by 2 ft. 1 in. w. 
 
 This is a type very frequently repeated by the Scotch painter, 
 both in full-length and half-length. 
 
 BAOUX (Jean). 
 
 French School. Born at Montpellier in 1 677. Died at Paris in 
 1734. Pupil of Bon Boullogne. Received at the Acad^mie 
 Royale on the 28th August, 1717. He painted chiefly decorative 
 subjects, fHes galantes, and the portraits of ladies of the Court 
 and actresses in fanciful dresses. 
 
 No. 128. A Lady at her Mirror. Gallery XVII. 
 
 2 ft. 7^ in. h. by 2 ft. 1^ in. w. 
 
 RBMBRANDT (Hakmensz) van Ryn. 
 
 Dutch School. Born at Leyden on the 15th July, 1606. Buried 
 at Amsterdam on the 8th October, 1669. Pupil of Jacob 
 van Swanenburgh, at Leyden ; then of Pieter Lastman, at 
 Amsterdam. Rembrandt practised his art up to 1631 at Leyden, 
 
 14283— (W.O.) 
 
 I 
 
102 
 
 REMBRANDT. 
 
 and afterwards at Amsterdam. His first manner, characterised by 
 f?reenish-grey flesh-tones and high finish, coincides with the years 
 of youthful endeavour at Leyden, but extends onwards to about 
 1632 or 1633. The second manner coincides more or less with the 
 years of Rembrandt’s vogue and worldly success at Amsterdam ; 
 it may be said to culminate with the years 1640-1642, but is not 
 completely merged in the third and greatest manner until 1648-1650. 
 The third manner may again be divided into two sections, the first 
 ending about 1658, and the second occupying roughly the last ten 
 years of the master’s life. Rembrandt is the greatest master 
 of a century which contained Yelazquez and Frans Hals, 
 Rubens, and Yan Dyck. If Yelazquez is incomparably the 
 greatest painter of his age, Rembrandt is the mightiest 
 genius, the artist who has penetrated deepest into the secrets of 
 humanity, who has, with the greatest insight and the greatest 
 sympathy portrayed the men and women of his time and his 
 race. He is the veritable precursor of modern art in its finest 
 essence, and it is only now that the full scope of his genius 
 has been universally recognised. The most remarkable collections 
 of this master’s works to be seen in public museums are at the 
 Hermitage in St. Petersburg, in the Oassel Gallery, the Louvre, 
 the Berlin Gallery, the Dresden Gallery, the Brunswick Gallery, 
 the Royal Museum of Stockholm, the Ryks-Museum of Amsterdam, 
 the Royal Gallery of The Hague, the National Gallery, the Wallace 
 Collection, and the Imperial Gallery of Yienna. Rembrandt is also 
 represented in the Corporation Art Gallery of Glasgow, the National 
 Gallery of Scotland, the National Gallery of Ireland, the Dulwich 
 Gallery, the Metropolitan Museum of New York, the National 
 Gallery of Buda-Pest, the Darmstadt Gallery, the Staedel Institut 
 of Frankf urt-a-Main,the Brussels and Antwerp Galleries, the Uffizi 
 and the Pitti at Florence, the Royal Gallery of Hampton Court, the 
 collection of the King of Roumania, and some others. Among the 
 private collections which contain the most remarkable groups 
 of his works are to be cited those of H.M. the King at Bucking- 
 ham Palace and Windsor Castle ; those of the Duke of West- 
 minster, Lord Ashburton, the Earl of Ellesmere, the Duke of 
 Devonshire, Lord Leconfield, Lord Iveagh, the Earl of Ilchester, 
 Earl Cowper, Captain Holford, and Mr. Alfred Beit in England; 
 those of M. Rodolphe Kann, M. Maurice Kann, and Baron Gustave 
 de Rothschild in Paris ; that of Prince Liechtenstein at Yienna ; 
 that of Dr. A. Bredius at The Hague : and those of Prince 
 Youssoupofif, Prince Serge Stroganoff, and Count Orloff Davidoff 
 in St. Petersburg. 
 
 No. 29 . Portrait of the ArtisVs Son Titus. 
 
 2 ft. 24 in. h. by 1 ft. 10 in. w. 
 
 Painted abouD 1G57. 
 
 Gallery XYI. 
 
^ /Li. Av- /</tV <2 U4<. c^cA.^^ M-~ 
 
 ^J^iu4'e//L/ ^^■0et^ €>/, y^Lj.*t/e, a/ 
 
 ^ 'CPta^^.^^un: ^ /:/3a^ ^J~^. ^ /r 
 
 eW-^i^- *. J / a«<4 - Td(^ ifelfiuAJ UMt . ^dlf- CMmu^vu. ^<nc6^. , jt^iu Oi^ to. CA£JUtf> j (M*^ 
 
 ^ <^WA.X.; V' . ^' I .(REMBRANDT/ . . 
 
 ^ ^01^ CdlAtto in ju^Aiit liUtAm u/tTL ^.o<n.^(/nH^yimU4«x - tiekJLuiM^rj^ ■ /v f/J/ 
 
 , No. 52 . Portrait of the Artist (in a cap). Gallery XVI. 
 
 ^ 2 ft. 1 in. h. by 1 ft. 1\ in. w. 
 
 Signed Rembrandt. Painted about 1634. 
 
 No. 55 . Portrait of the Artist (in a plumed hat). 
 2 ft. 2 in. h. by 1 ft. 8 in. w. 
 
 Signed Rembrandt f. Painted about 1635. 
 
 r\ 
 
 No. 82 . Portrait of the Burgomaster Jan Pellicorne, 
 with his Son. 
 
 5 ft. 1 in. h. by 4 ft. w. 
 
 Signed Rembrandt/. Painted in 1632 or 1633. 
 
 From the collections of Valckemer van de Po\\, a. 
 Nieuwenhuys, and William II., King of Holland. 
 
 jZ oi-tnci C^s^^nd ovei ^ ji£ecda€cf rJa 
 
 No. 86. The Parable of the Unmerciful Servant. / 
 
 L d/>0pk. 
 
 5 ft. lOi in. h. by 7 ft. 2^ in. w. 
 
 Painted about 1655. From the Duke of Bucking- 
 ham’s collection at Stowe. Often catalogued as 
 “The Workers in the Vineyard.” It was mezzo- 
 tinted in 1800 by James Ward under the title “ The 
 Centurion Cornelius” (Acts, Ch. X., verses 7-8). 
 
 There is a pen drawing for this picture in the 
 Amsterdam Print Room. 
 
 C 
 
 \ I 
 
 \ 
 
 No. DO. Portrait of Suzanna van Collen, wife of 
 Jan Pellicorne^ with her Daughter. 
 
 6 ft. 1 in. h. by 4 ft. \ in. w. 
 
 Signed Rembrandt /., 163, (probably 1633). 
 Pendant of No. 82, and from the ^me collecti^s. 
 /loc /jrcp- zio/r/ oi^. 
 
 No. 173 . Portrait of the Artist (on copper). 
 
 XIV. 
 
 8i in. h. by 6 in. w. 
 
 Painted about 1655-1657. 
 
 No. 201 . Portrait of a Boy. 
 
 8 in. h. by 6| in. w. 
 
 Signed Rembrandt /., 1633. A somewhat similar 
 picture with the same date is in the collection ot 
 
 14283— (W.C.) 
 
104 
 
 REMBRANDT. 
 
 Prince Youssoupoff, at St. Petersburg. In the present example 
 the painting of the robe and cap is much inferior to that of the 
 face. 
 
 The same model appears in pictures by the master at the Her- 
 mitage, and in several private collections. 
 
 No. 203. The Good Samaritan. Gallery XIV. 
 
 9f in. h. by 8 in. w. 
 
 Almost identical in design with the master’s 
 etching of the same subject dated 1633, and pro- 
 bably painted in the same year. The etching is 
 in reverse, and introduces a grotesque dog in the 
 foreground. 
 
 From the collections of M. de Jullienne, Due de 
 Choiseul, Prince de Conti, Nogaret, M. de Calonne, 
 and Mr. Edward Coxe. 
 
 No. 229. An Ideal Landscape. „ XIII. 
 
 1 ft. 6 in. h. by 2 ft. 1 in. w. 
 
 Called by Dr. Bode, in his great publication “ The 
 Complete Work of Rembrandt,” “ The Landscape 
 with a Fortress.” 
 
 Painted between 1640 and 1645. From the 
 Jullienne, Choiseul, Conti, Yaudreuil, Calonne, and 
 F. W. Taylor Collections. 
 
 / / 
 
 / No. 238. A Young Negro Archer. ^ . ' j „ 
 
 / 2 ft. 2 in. h. by 1 ft. 8 in. w. 
 
 ' Fainted about 1635. 
 
 From the Duke of Buckingham’s collection at Stowe. 
 
 REYNOZiDS (SiB Joshua), P.R.a. 
 
 British School- Born at Piympton, in Devonshire, on the 16th 
 July. 172.^. Died at his house in Leicester Square on the 23rd 
 
REYNOLDS. 
 
 105 
 
 February, 1792, and was buried in St. Paul’s Cathedral Pupil of 
 Hudson, and further developed by the study of the Italian masters 
 in the course of a sojourn of three years (1749-1752) in Italy. 
 Reynolds was also very strongly influenced by Rembrandt. After 
 the Italian journey he settled in London, and soon became the 
 leading portrait-painter in the capital. In 1768 he was elected 
 President of the newly - established Royal Academy of Arts, 
 and in 1784 he succeeded Allan Ramsay as Painter - in - 
 Ordinary to George III., who, however, made but little use of his 
 services, preferring that the Royal person and the Royal family 
 should be portrayed by his rival, Gainsborough. Reynolds 
 exhibited altogether 245 works at the Royal Academy, sending on 
 an average as many as eleven annually. His Discourses on 
 Art were delivered regularly there from January, 1769, 
 to December, 1790. After 1789, he was compelled to practi- 
 cally relinquish his art in consequence of great weakness of sight. 
 Reynolds’s career, from the date of his return to London after his 
 Italian tour to that of his retirement, so soon to be followed by 
 his death, was one of unchecked artistic and social success. He 
 showed inflnite variety in the portrayal of the men and women of 
 his time, and in this respect was above rivalry. His portraits of 
 women are marked by a suavity, grace, and distinction upon 
 which it is unnecessary to dwell ; his portraits of men show a 
 grasp of character and a dramatic instinct which had hardly a 
 parallel in the 18th century. If Gainsborough was the greater 
 master of the brush, the more astonishing executant, Reynolds 
 was perhaps the greater artist. The most important groups of 
 his works in public galleries are to be found in the National 
 Gallery and the Wallace Collection. Among the private collections 
 which can boast of splendid examples of his art may be cited those 
 of Miss Alice de Rothschild at Waddesdon Manor, of Earl Spencer, 
 the Earl of Crewe, Lord Leconfield, Lord Burton, Sir Charles 
 Tennant, Lord Rothschild, the Earl of Radnor, the Duke of 
 Westminster, the Duke of Marlborough, the Earl of Normanton, 
 Lord Iveagh, Sir Charles Bunbury, Mr. W. W. Astor, Mrs. 
 Thwaites, and Mr. Alfred Beit. 
 
 No. 31 . Portrait of Lady Elizabeth Seymour. 
 
 2 ft. h. by 1 ft. 6 in. w. 
 
 Gallery XVI. 
 
 iHi -f 
 
 
 Painted in 1781. This lady was the eighth child 
 of Francis, first Marquis of Hertford, and Lady 
 Elizabeth Fitzroy, daughter of the Duke of Grafton. 
 She was bom on the 3rd March, 1754, and died 
 unmarried in 1825.^ . ^ ^ ^ ^ 
 
 CL 
 
 -^OMd /4 
 
 1^0 JJ 
 
 2 ^ 
 
 
 
 
1C6 REYNOLDS. 
 
 No. 32. Portrait of Mrs. Richard Hoare with her 'r 
 
 \ Infant Son. Gallery XYI. 
 
 1 ft, 4^ in. h. by 3 ft. 6^ in. w, / 
 
 Painted about 1783. 
 
 The child in this picture is probably the “ Master 6iCU ^ 
 
 Hoare” painted by Reynolds in 1788. This last L j 
 
 work is now in the collection of Baron Albert d^^. 
 
 Rothschild, of Vienna. ^Uk OtUu 
 
 No. 33. Portrait of Lady Prances Seymour. Countess 
 
 of Lincoln. ‘ " 
 
 2 ft. h. by 1 ft. 6^ in. / 
 
 Painted in 1781 or 1782. This lady was the 
 
 seventh child of Francis, first Marquis of Hertford, 
 and Lady Elizabeth Fitzroy (see No. 31). She 
 was born on the 4th December, 1751 ; married in 
 May, 1775, Henry Pelham Clinton, Earl of Lincoln, 
 son of the Duke of Newcastle ; and died in 1820. 
 
 . 35. Portrait of Mrs. Carnac. 
 
 ~ 7 ft. 9 in. h. by 4 ft. 9^ in. w. 
 
 Engraved by J. Raphael Smith in 1778. 
 
 hp 
 
 
 No. 36. Portrait of Miss Bowles (“Love me. Love /i » < i i i' 
 ■ my Dog”). 'hoM4 Ua 
 
 Vai ”df’ 1775 ^ H 
 
 Engraved by William Ward (1798) ; also in 
 stipple (1817), and afterw^ds in mezzotint by 
 Charles Turner. ~ 
 
 
 . -meH4>eLiktY 
 
 r\ 
 
 of trolly O'Brien 
 
 cUl IJ in. h. by 3 ft. 3| in. w. 
 
 : /O- Painted in 1763. ‘ 
 
 • /Ydd Charles Phillips (1770), Samuel 
 
 S JJ ^.<a^"Okey, and S. W. Reynolds, / 
 
 vv'.w; 
 
 No. 40. Ths Strawberry Girl. > 
 
 2 ft. 6f in. h. by 2 ft. f in. w. 
 
 Exhibited at the Royal Academy in 1773’. 
 Described by Reynolds himself as “ one of the 
 half-dozen original things which no man ever 
 exceeded in his life-work.” 
 
 
RIGAUD, 
 
 107 
 
 Another version of this picture, belonging to the Marquess of 
 Lansdowne, was engraved by T. Watson (1774). ^ 
 
 43. Portrait of Mrs. Neshitt vntJi a Dove. ^ 
 
 No. 46. Portrait of Mrs. Robinson (“Pe^ita”). 
 
 2 ft. 6 in. h. by 2 ft. \ in. w. H- ^ 'f)i/A ^ ^(i44j^C{rxL^ 
 
 Probably the portrait painted in 1784. ^A( 
 
 Engraved by William Birch, and by S. W. 
 
 Reynolds. ZTetOZ. 
 
 T^o. VI. Portrait of Mrs, Braddyll. &iOM. /c*<^ ^ 
 
 2 ft. 5i in. h. by 2 ft. i in. A ^ ^ fjf ' 
 
 Painted in 1788 or 1789. / 
 
 Engraved by S. Cousins, J. W. Chapman, Walker, 
 and E. J. Edwards. /OO aMMed, a 
 
 aU^A Bid. 
 
 m'^LJoJin the Ba^tiU i 
 
 No. 48 
 
 in the Witderness. t 
 
 4 ft. 1 in. h. by 3 ft. 3 in. w. ^ 
 
 Probably the picture exhibited at the Royal 
 Academy in 1776. ^ JicM 
 
 Engraved by J. Crozer (1799), S. W. B ^ynolds,^ ^^*-^-^^^.^ 'Lefuc. 
 
 
 No. 561. Portrait of the DuTce of Queensherry. „ I. 
 
 2 ft. Ilf in. h. by 2 ft. 3 in. w. 
 
 cA. ^un4icu/L aioucAu.^ ^ 
 
 t'OftUl. hift'tM ^ \€-f^ " of a_ duolte'Uc. (A. frUryM-arX 
 
 . o.f^d .a ^ 
 
 ZlZCrAU2> (Hyacinthe). 
 
 French School. Born at Perpignan on the 20th July, 1659. 
 Died at Paris on the 27th December, 1743. Pupil of Pezet and 
 Ranc. Received at the Academie Royale on the 2nd January, 
 1700. Rigaud was the principal official painter of the Court of 
 Louis XIV., and no artist of his time so fi?equently represented 
 that monarch himself. Like his contemporary and friendly rival, 
 Largilliere, he belongs, in point of time, both to the age of 
 Louis XIV. and that of Louis XV. Yet to the end of his career 
 he preserves in his art the character of the former period. 
 
108 
 
 ROBERT— ROBERT-FLEURY. 
 
 No. 130 Portrait of Cardinal Fleury. Gallery XVII. 
 
 2 ft. 8 in. A. by 2 ft. 1^ in. to. 
 
 A picture identical in design and treatment with this portrait 
 is No. 903 in the National Gallery. Both are probably derived 
 from a common original — the ofl&cial three-quarter length portrait 
 by Rigaud now exhibited in the new picture gallery on the second 
 floor of the Palace at Versailles. 
 
 XIOBSB.T (Louis-LiopoLD). 
 
 French School. Born on the 13th May, 1794, at La Chaux-de- 
 Fonds, in Switzerland. Died at Venice on the 20th March, 1835. 
 He studied in the school of Jacques-Louis David. Robert went 
 to Rome, and there made an especial study of the Roman brigands 
 and the peasants allied to them. He then exhibited at Rome a 
 dozen pictures on these motives, and these made a great sensation 
 among the artists then inhabiting the Holy City. He continued 
 to paint Italian brigands as well as the contadini and contadine of 
 the regions round Rome and Naples. His two principal works, 
 “ L’Arrivee des Moissonneurs dans les Marais Pontins ” and “ Le 
 Retour du Pelerinage h, la Madone de I’Arc,” are in the Louvre. 
 Leopold Robert committed suicide at Venice. 
 
 No. 590. The Brigand on the Watch, 
 
 1 ft. 6 in. h. by 1 ft. in. w. 
 
 No. 591. The Brigand Asleep. 
 
 1 ft. 6 in. h. by 1 ft. 2| in. uo. 
 
 No. 592. The Death of the Brigand. 
 
 1 ft. 6 in. h. by 1 ft. 3 in. w. 
 
 No. 615. A Neapolitan Fisherman. 
 
 1 ft. I in. h. by 9f in. w. 
 
 XlOBEBT-FXiSURV (Joseph-Nigolas). 
 
 French School. Born of French parents at Cologne, on the 
 8th August, 1797. Died at Paris in 1891. Pupil of Gros, Girodet, 
 and Horace Vernet. A notable painter of historical incident and 
 historical genre. In style and conception he approaches more 
 nearly to the coldly correct romanticism of Delaroche than to the 
 passionate and lyrical romanticism of Delacroix. Robert-Fleury 
 
 Gallery X. 
 
 »» 
 
 
 >» 
 
ROBERTS. 
 
 109 
 
 ’was Director of the Ecole des Beaux- Arts in 1864, and Director 
 -of the Academie de France at Rome in 1865. 
 
 No. 361 . Charles V. at the Monastery of^Yuste. Gallery XV. 
 
 3 ft. 24 in. h. by 4 ft. 8i in. to. 
 
 Bought by Sir Richard Wallace, in 1872, at 
 the Vente Pereire, in Paris, for 40,000 francs. 
 
 No. 686 . Cardinal Richelieu. — Water-colour. „ XXI. 
 
 44 in. h, by 64 in. to. 
 
 ROBERTS (David), R.A. 
 
 British School. Bom at Stockbridge, near Edinburgh, in 1796. 
 Died in London on the 26th November, 1864. He was first 
 Apprenticed to a house-painter and decorator in the Scotch capital 
 In 1822 he went to London and was engaged as a scene-painter at 
 Drury Lane Theatre. He soon passed on to higher efforts, and 
 tried his fortune with great success as a painter of architectural 
 subjects in oils and water colours. In 1832-33 he made a tour in 
 Spain, and afterwards undertook many fruitful journeys on the 
 Continent of Europe and in the East. He was elected an Associate 
 of the Royal Academy in 1838, and a full member in 1841. 
 
 No. 258. Interior of St. Gommar, Lierre^ in 
 Belgium. 
 
 3 ft. 11 in. h. by 3 ft. 4 in. w. 
 
 No. 687. The Chapel of Ferdinand and Isabella at 
 Granada. 
 
 1 ft. 64 in. A. by 1 ft. 24 in. w. 
 
 No. 659. The Seminario and Cathedral of Santiago, 
 from the Paseo de Santa Susanna . — 
 Water-colour. 
 
 9| in. h. by 1 ft. 34 in. w. 
 
 'No. 680. Baalbec : The Temple of the Sun.— 
 
 Water-colour. 
 
 54 in. h. by 8 in. w. 
 
 No. 689. Mayence Cathedral. — Water-colour. 
 
 9 in. h, by 1 ft. J in. w. 
 
 No. 697 ■ The Great Square of Tetuan, from the 
 Jews' Quarter, during the celebration of 
 a Marriage Festival. — Water-colour. 
 
 lOS in. h. by 1 ft. 3 in. w. 
 
 Gallery XV. 
 
 71 
 
 IX. 
 
 XXII. 
 
 17 
 
 XXL 
 
 7 > 
 
 77 
 
110 
 
 ROMAN SCHOOL— ROMNEY. 
 
 R03MCAN SCKOOli (16th Century). 
 
 No. 553. The Holy Family. Oallery III.. 
 
 1 ft. 6| in. h. by 1 ft. 1 in. w. 
 
 ROXMENSV (George). 
 
 British School. Born at Dalton, in Lancashire, on the IStht 
 December, 1734. Died at Kendal on the 15th November, 1802,. 
 and was buried at his birthplace, Dalton. Romney, having shown 
 natural ability for drawing, was at the age of nineteen placed by 
 his father with a painter of the name of Steele, at Kendal. In 
 1762 he went to London, and there rapidly rose to fame and for- 
 tune. In 1773 he paid a long-desired visit to Italy, and in 1773 
 settled in London, and took a house in Cavendish Square. He 
 acquired a popularity hardly second to that of Reynolds and 
 Gainsborough, and, indeed, divided the town into a Reynolds and 
 a Romney faction. He excelled not only in the portraiture of the> 
 beautiful and fashionable women of his day, but in the representa- 
 tion of men. Moreover, as the painter of boys, preserving in their 
 beauty a characteristically British and manly type, he was hardly 
 second to Reynolds himself. Romney conceived in middle life a 
 passionate and romantic affection for the beautiful Emma Hart 
 (or Lyon), afterwards Lady Hamilton. He portrayed her in an 
 unending series of studies and portraits, and under many trans- 
 parent disguises, which served but to enhance her loveliness. He 
 painted also with less acceptance works in which his imagi- 
 nation sought to soar into the regions of poetry. In Lordl 
 Leconfield’s collection at Petworth House are to be found “ The 
 Infant Shakespeare nursed by Tragedy and Comedy,” “ Mirth 
 and Melancholy,” and another fanciful portrait-group of the same 
 class. Romney is now fairly represented at the National Gallery. 
 His finest portraits are, however, scattered through the private 
 galleries in England. Among those best endowed in this respect 
 may be mentioned the collections of the Duke of Sutherland,. 
 Lord Iveagh, the Earl of Jersey, Lord Burton, Mr. Alfred de 
 Rothschild, Lady de Saumarez, Miss Alice de Rothschild, Lord 
 Hillingdon, Mr. .J. Pierpont Morgan, Mr. F. C. Pawle, and Mr.- 
 Tan kerville Chamberlain. 
 
 No. 37. Portrait of Mrs. Robinson (“ Perdita ”). Gallery XYI.. 
 
 2 ft. 5^ in. h. by 2 ft. | in. w. 
 
 . . ^ ' 
 
 W I ‘ '/ 'i ' " ' ■ 
 
ROQUEPLAN. 
 
 ROQUEPXiAN (Camille- Joseph-Etienne). 
 
 Ill 
 
 French School. Born at Malemort, in the South of France, in 
 1803 ; died in 1855. Pupil of Baron Gros and of Abel de Pujol. 
 Roqueplan belonged to the Romanticists of 1830, and painted 
 romantic subjects, genre, and landscape. 
 
 No. 285. The Lion in Love (“Le Lion Amoureux”). 
 6 ft. 4 in. h. by 4 ft. 11 in. w. 
 
 Gallery XV. 
 
 No. 671. A Sentimental Conversation. 
 1 ft. 3 in. h, by 1 ft. ^ in. w. 
 
 IX. 
 
 No. 583. Summer Pleasures. 
 1 ft. in. A. by 11® in. w. 
 
 M r> 
 
 No. 595. An Evening Landscape. 
 
 X. 
 
 No. 603. Portraitof the Duke of Orleans 
 Egalit4.”) 
 
 Small copy after Sir Joshua Reynolds, probably 
 made not from the original, but from the copy, 
 on a much reduced scale, now in the Musee Conde 
 at Chantilly. The original full-length was irre- 
 parably injured in the fire at Carlton House, and 
 IS now, in a ruined condition, at Hampton Court. 
 
 7f in. h. by 6| in. w. 
 
 -n >» 
 
 No. 609. Peasants of Bearn. 
 1 ft. 9 in. h. by 1 ft. 4 in. w. 
 
 11 11 
 
 No. 612. Gathering Cherries. 
 
 2 ft. If in. h. by 1 ft. 6f in. w. 
 
 tt 11 
 
 No. 652. The Watering Place. — Water-colour. 
 1 ft. h. by 8 in. lo. 
 
 „ XXII. 
 
 No. 662. On the Sea Shore. — Water-colour. 
 6| in. by in. w. 
 
 No. 707. The Stolen Kiss. — Water-colour. 
 lOf in. h. by 8^ in. w. 
 
 11 11 
 M XXI. 
 
 XXI. 
 
112 
 
 ROSA— ROUSSEAU. 
 
 HOSA (Salvatore). 
 
 Neapolitan School. Bom at Renella, near Naples, on the 21st 
 Jnly, 1615. Die4 at Rome on the 15th March, 1673. Developed 
 under the influence of the Naturalistic School of the 17th century. 
 Salvatore Rosa practised his art at first at Naples, but ultimately 
 settled in Rome, where he died. He was not only one of the 
 foremost painters of his school, but also an etcher, and, moreover, 
 according to tradition, an accomplished musician. He painted 
 with great force rugged, picturesque landscapes, dens and caverns 
 of banditti, scenes of violence and terror ; but rose to a higher 
 level when he treated from the standpoint of the pastoral poet 
 familiar subjects from biblical history. Here he showed creative 
 power and pathos of the highest order. Some of his finest works 
 are to be found in the Pitti Palace at Florence, in the Hermitage 
 at St. Petersburg, in the Louvre, and at the Bridgewater Gallery 
 in London. 
 
 No. 116 . River Scene with Apollo and the Sibyl. Gallery XYII. 
 
 5 ft. in. h. by 8 ft. 5 | in. lo. 
 
 ROUSSEAU (Pierre -Etienne-Th^odore). 
 
 French School. Bom at Paris on the 12th April, 1812. Died at 
 Barbizon on the 22nd December, 1867. Pupil of Guillon Lethiere. 
 Rousseau was one of the chief painters of the so-called Barbizon 
 School, and fought his way to fame through a thousand obstacles 
 and difficulties. For thirteen years, from 1835, his pictures were 
 systematically excluded from the Salon, in company with those of 
 Delacroix, Champmartin, Huet, Marilhat, Decamps, and other 
 Romanticists. The climax of his reputation was attained in 1867, 
 when, at the Exposition Universelle, he carried off one of the four 
 Grand Medals of Honour. Rousseau was the brother in art and 
 the companion of Jean-Franqois Millet, whom he often befriended 
 in his hours of need. He painted mainly the Forest of 
 Fontainebleau, and painted it with infinite variety in the 
 motives selected, the mode of conception, and the illumination. 
 Originally inspired by Constable, as were not a few of the French 
 landscapists of the Romantic School, he developed, on this basis, 
 a wholly original style. If Corot is the most inspired poet -painter 
 of his group, and Daubigny its most pathetic realist, Theodore 
 Rousseau is certainly the most vigorous and dramatic, the most 
 various artist, and the most enthusiastic student of Nature in 
 every phase to be found in this great modern school of landscape. 
 
RUBENS. 
 
 113 
 
 He, in his turn, exercised a marked influence over another 
 admirable landscape painter of the group, Narcisse-Virgile Diaz. 
 
 No. 283 . A Glade in the Forest of Fontainebleau. Gallery XV. 
 3 ft. 2\ in. h. by 4 ft. 4| in. w. 
 
 A somewhat similar but in no respect identical picture is in the 
 Louvre. 
 
 RUBSNS (Sir Peter Paul). 
 
 Flemish School. Born at Siegen in Westphalia on the 
 28th June, 1577. Died at Antwerp on the 30th May, 1640. Pupil, 
 first of Tobias Verhaagt, then of Adam van Noort, finally of 
 Otto van Veen (Otho Venius). In 1600, Rubens went to Italy 
 and entered the service of Vincenzo I. Gonzaga, Duke of Mantua, 
 to whom he remained attached, with certain intervals, until 1608. 
 In 1603 he was sent by Vincenzo to Spain on a mission to 
 Philip IV., and remained there until 1604. He was, in 1609, soon 
 after his return to Antwerp, appointed Court Painter to Albert 
 and Isabella, Regents of the Netherlands. In October of that year 
 he married his first wife, Isabelle Brant. He visited Paris in 1620, 
 and there received from Marie de Medicis the commission for the 
 celebrated series of paintings, illustrating incidents in her life. 
 These were completed in 1625 by the master and his pupils, and 
 placed in the new palace of the Luxembourg ; they are now in the 
 Louvre, and have recently been set up in a gallery expressly 
 constructed to receive them. In 1628 Rubens was sent 
 by Isabella, Regent of the Netherlands, on a diplomatic 
 mission to Philip IV. of Spain, and in 1629-1630, he was 
 in England on a similar mission to Charles I., by whom he 
 was knighted in the latter year. In 1630 he married as his 
 second wife, the beautiful Helene Fourment, niece of Isabelle 
 Brant. Rubens, in the magnificent house and studio which he 
 built for himself at Antwerp, was surrounded by pupils and 
 assistants, whose large share in the works of his maturity accounts 
 for the extraordinary number and dimensions of these. His 
 influence was paramount, not only with his immediate followers, 
 but, more or less, with the whole of the contemporary Flemish school. 
 Perhaps no painter enjoyed during his lifetime so brilliant and 
 exceptional an artistic and social position. The art of Rubens 
 did not fully develop itself until his return from Italy, when 
 he assumed, with the “ Elevation of the Cross,” and afterwards 
 with the “ Descent from the Cross,” the commanding position 
 among Flemish painters which was never again disputed. The 
 final development of his style in the direction of sensuous 
 
114 
 
 RUBENS. 
 
 beauty, of magic swiftness and strength of touch, of transparency 
 and glow of colour coincides with his second marriage, and 
 extends to the date of his death. 
 
 The most important collections of the master’s works are to be 
 found in the museum and churches of Antwerp ; in the Alte Pina- 
 kothek of Munich ; in the Hermitage of St. Petersburg ; in the 
 Louvre ; in the Imperial and Liechtenstein Galleries and the 
 Academy of Arts at Vienna ; in the Uffizi and the Pitti Palace at 
 Florence ; in the Dresden and Berlin Galleries, the Brussels 
 Gallery, and the National Gallery. The museums of Lille, 
 Lyons, Marseilles, Nancy, Caen, Aix, Valenciennes, and Grenoble, 
 in France, contain remarkable canvases from the brash of Rubens, 
 some of which are of peculiar importance as representing the 
 earlier and less known phases of his career. Among the private 
 collections in which he is exceptionally well represented may bo 
 mentioned those of Baron Alphonse de Rothschild, at Paris, and 
 ^f the Duke of Westminster at Grosvenor House. The Rubens 
 Room, dedicated to the master at Windsor Castle, contains, with 
 notable works undoubtedly his, a good deal that is not from his 
 hand, including the celebrated “St. Martin dividing his Cloak 
 with the Beggar,” which is now universally recognised as a work of 
 Van Dyck’s first period. 
 
 . > , i , t /' ' ^ 
 
 No. 30 . Portrait of Isahelle Brant, first wife of 
 Rubens. 
 
 A slightly enlarged repetition of the portrait of 
 this lady in the Royal Gallery of the Hague. 
 
 8 ft. in. h. by 2 ft. 4^ in. w. 
 
 1 ' r. 
 
 Gallery XVI. 
 
 No. 63 . The “ Rainbow ” Landscape.. 
 
 4 ft. 4| in. h. by 7 ft. 7 in. lo, ' ‘ y* 
 
 Another original of smaller dimensions, and, 
 fine as it is, hardly equal to this example in quality, , , . , < , V, ( i** 
 
 is in the Alte Pinakothek, at Munich. This work — 
 probably the later of the two — was painted about ^ 
 
 1636. it came from the Balbi Palace at Genoa, 
 where it had as a pendant the “ Chateau de Steen,” 
 by Rubens, now in the National Gallery ; the 
 dimensions of the two cairvases being nearly 
 identical. Brought to England in 1802, it was 
 afterwards purchased by the Earl of Orford for 
 2600 guineas. At his sale it was purchased by 
 4ihe Marquis of Hertford for 4550 guineas. 
 
 
RUBENS, 
 
 115 
 
 No. 71 - The Crucified Saviour, Gallery XVI. 
 
 3 ft. in. h. by 2 ft. 3 in. w. 
 
 Purchased in 1862 by the Marquis of Hertford 
 from the Baillie collection at Antwerp for 6300 
 francs. The type is that of the “ Christ au coup 
 de poing,” now only known by the magnificent 
 drawing in the Musee Boymans, at Rotterdam, 
 made by the master for the engraving of Paul 
 Pontius. 
 
 No. 81 . The Holy Family, with St. Elizabeth, and 
 St, John the Baptist. 
 
 4 ft. 6^ in. h. by 3 ft. 3 in. w. 
 
 Engraved by P. J. Tassaert. 
 
 Painted for the Oratory of the Archduke Albert, 
 Co-Regent of the Netherlands. This “ Holy 
 “ Family ” belonged, in 1770, to Duke Charles of 
 Lorraine, Governor of the Netherlands. It was 
 liter in the Imperial Gallery of Vienna, and is 
 mentioned in the catalogue of 1784, but was pre- 
 sented by the Emperor Joseph II. to the Chevalier 
 Burton, of Brussels, and by him sold to M. de la 
 Hante, who transported it to England. The 
 picture was, in 1840, in the collection of Mr. E. 
 Higginson, of Saltmarsh Castle. At his sale, in 
 ] 846, it was purchased by the Marquis of Hertford, 
 for £3000. (See Max Rooses : “ L’Oeuvre de 
 Rubens.”) 
 
 A small copy of this canvas, painted by David 
 Teniers the Younger, in a much cooler, greyer 
 tonality, is in the gallery at Apsley House. 
 
 No. 93. Christ's Charge to Peter. „ 
 
 4 ft. 7 in. h. by 3 ft. 8^ in. w. O.^/kO. 
 
 Painted about 1616 for Nicholas Damant, and by 
 him placed on an altar in the chapel of the Holy 
 
 
 (Z 
 
 Sacrament, in the Collegiate Church of St. Gudule 
 at Brussels Beneath the picture was then ^ 
 
 elaborate dedicatory inscription, which is given in / 
 
 full in M. Max Rooses’s monumental 
 Rubens already cited. After many vicissitudes this jlj ^ 
 picture was purchased, in 1824, by the Prince of G/-Uua 
 
 Orange for £2500. At the sale of the collection 
 belonging to William II., King of Holland, it was 
 purchased by the Marquis of Hertford for 18,00G 
 florins. 
 
 Ac- 
 
 J. 
 
 
116 
 
 RUBENS. 
 
 No. 519 . The Adoration of the Magi , — 
 
 Sketch for the great Altar- 
 
 piece in the Antwerp Gallery. Gallery XXII. (screen). 
 
 2 ft. I in. h, by 1 ft. 6| in. w. 
 
 No. 520 . The Defeat and Death of „ „ , 
 
 Mcucentius. 
 
 1 ft. in. h. by 2 ft. 1 in. w. 
 
 Engraved by N. Tardieu. This picture 
 belongs to a series of sketches in oils repre- 
 senting The History of Constantine^ being the 
 master’s original designs for the cartoons 
 commissioned of him by Louis XIII. for a set 
 of tapestries, of which two complete examples 
 from different factories are still in the Garde- 
 Meuble, at Paris. From these sketches 
 Rubens’s pupils, Justus van Egmont, Wildens, 
 
 Snyders, Lucas van Uden, and Theodor van 
 Thulden elaborated the cartoons. The 
 sketches were originally in the Orleans 
 Gallery. The Marquis of Hertford purchased 
 the “Defeat and Death of Maxentius” at the 
 Rogers sale (1856) for 260 guineas. (See 
 Max Rooses : “ L’Oeuvre de Rubens.”) 
 
 No. 521 . The Adoration of the Magi . — „ ,, ,, 
 
 Sketch for the Altarpiece in 
 the collection of the Duke 
 of Westminster. 
 
 I ft. 7i in. h. by 1 ft. If in. w. 
 
 No. 522 . The Triumphal Entry of Henri 
 IV. into Paris. — Sketch for 
 the picture in Uffizi at 
 Florence. „ „ 
 
 Purchased at the sale of Baron Brienen 
 de Grootelindt for 20,650 francs. 
 
 8 in. h, by 3f in. w. 
 
 A larger sketch by Rubens, of somewhat different design, is 
 in the collection of the Earl of Darnley, at Cobhara. This 
 sketch. Nos. 523 and 524 in this collection, and other designs 
 of the same order in the Liechtenstein collection at Yienna 
 and the Berlin Museum, contain Rubens’s preliminary ideas in 
 
RUYSDAEL. 
 
 117 
 
 oils for a series of great pictures, “ The Life of Henri /F.,” 
 which were intended by Marie de M^dicis to balance the series 
 in which were symbolised incidents from her own life. Of this 
 “Life of Henri IV.” only the two vast canvases now in the 
 Uffizi, “The Triumphal Entry of Henri IV. into Paris ” and 
 “ The Battle of Ivry ” were carried out, and even these remained 
 unfinished. 
 
 No. 523 . The Birth of Henri IV. Gallery XXII. (screen), 
 
 in. h. by 1 ft. 2 in. w. 
 
 This sketch and No. 524 were bought 
 by the Marquis of Hertford at the 
 Sullivan sale (1859) for £86. 
 
 No. 524 . The Marriage of Henri IV. and 
 Marie de 3Udici8. 
 
 9 in. h. by 4^ in. w. 
 
 RUirSDAEZi (Jacob van). 
 
 Dutch School. Born at Haarlem in 1628 or 1629. Buried in 
 that city on the 14th March, 1682. Probably developed under the 
 example of Cornells Vroom, and of his uncle, Salomon van 
 Ruysdael, but powerfully influenced b}'^ Allart van Everdingen. He 
 practised his art first at Haarlem, but removed in 1657 to 
 Amsterdam, where he remained until 1681. Jacob van Ruysdael 
 was but little appreciated in his day ; he was reduced to extreme 
 poverty, and died in an almshouse. His finest works are transcripts 
 of the scenery of his native country, forest prospects, farms and 
 homesteads nestling in woods, sea and sea-coast scenes. His 
 most popular pieces, however, are the waterfalls of a Norwegian 
 character, though these are clearly adapted from the similar paint- 
 ings of Everdingen. There is no reason to believe that Ruysdael ever 
 visited Norway. In his sad and solemn treatment of nature, from 
 a poetic and yet a homely and realistic standpoint, he is one of 
 the precursors of modern landscape. 
 
 No. 60 . Rocky Landscape. 
 
 3 ft. 4 in. h. by 4 ft. 1 in. w 
 
 14283— OV.C.) 
 
 Gallery XVI. 
 
118 
 
 SAINT-JEAN— SANT. 
 
 No. 56. Landscape with Waterfall. 
 
 3 ft. 4 in. h. by 4 ft. 7f in. w. J 
 
 Gallery XVI. 
 
 No. 148. Landscapefbith a Blasted Tree. 
 Ilf in. h. by 10 in. w. 
 
 
 XIV. 
 
 No. 156. Landscape with a Village. 
 2 ft. 41; in. h. by 2 ft. 111^ in. w. 
 
 
 
 No. 197. Landscape with a, Farm. 
 1 ft. 6 in. h. by 1 ft. 10 in. w. 
 
 V 
 
 
 No. 247. Sunset in a Wood {ascribed to Jacob van 
 Ruysdael). 
 
 2 ft. 11 in. h. by 2 ft. 6. in. w. 
 
 
 XIII. 
 
 Si».XNT-JZ:AN (Simon). 
 
 French School. Born at Lyons in 1808. Died in 1860. Pupil 
 of Revoil. Confined himself to flower and fruit painting. 
 
 No. 569. Flowers and Fruit. Gallery IX. 
 
 2 ft. 9 in. by 2 ft. 2 in. w. 
 
 No. 601* Flowers arid Fruit. „ X. 
 
 1 ft. 5 in. h. by 1 ft. 8| in. w. 
 
 No. 760. Flowers and Grapes. „ XVII. 
 
 4 ft. ^ in. A. by 3 ft. 3 in. w. 
 
 No. 761. Flowers and' Grapes. „ „ 
 
 4 ft. \ in. h. by 3 ft, 3 in. w. 
 
 SANT (James), R.A. 
 
 British School. Born at Croydon on the 23rd April, 1820. 
 Pupil of John Varley and Sir Augustus Calcott, R.A He became 
 A.R.A. in 1861 and R.A. in 1870. In January, 1871, he was 
 appointed Principal Painter in Ordinary to Her Majesty the 
 Queen. Sant painted for the late Countess Waldegrave the por- 
 traits of twenty-two members of the Strawberry Hill circle. 
 
 No. 602. Portrait Study of a Young Lady. Gallery X. 
 
 2 ft. in. h. by 2 ft. 1 in. w. 
 
SARTO. 
 
 119 
 
 SARTO (Andrea d’Agnolo di Francesco). 
 
 Florentine School. Called Andrea del Sarto from the occupation 
 of his father, who was a tailor. Born at Florence on the 16th 
 July, 1486 ; died there on the 22nd January, 1531. Pupil of 
 an obscure painter, Gian Barile, then of Piero di Cosimo ; 
 developed under the influence of Fra Bartolomineo, Leonardo da 
 Vinci, and Michelangelo. He practised his art chiefly in Florence, 
 but was during a portion of 1518 and 1519 in France, in the 
 service of Francis I. The king received him with honour, and 
 entrusted to him a sum of money to purchase works of art. 
 Andrea having been led — it is believed through the extravagance 
 of his wife, Lucrezia del Fede — to squander this sum, never 
 dared to return to France. In general technical accomplishment, 
 in faultless harmony of composition, in a rare combination of the 
 gift of the colourist with that of the draughtsman and monu- 
 mental designer, Andrea del Sarto exceeded all the painters of his 
 time. If his genius, if his imaginative power had equalled his 
 executive skill he would have been, perhaps, the greatest of 
 Italian masters. Unfortunately beneath the grandeur and the tech- 
 nical perfection of his work there is often little inspiration or true 
 creative power. He was called, from the excellence of his frescoes 
 at the Santissima Annunziata in Florence, “ Andrea senza Errori.” 
 His greatest works are still to be found in Florence. In the Pitti 
 and Uffizi galleries are his flnest oil paintings, while his most 
 famous frescoes are at the Santissima Annunziata, in the Cloister 
 of the Scalzo, and at S. Salvi, outside the walls of the city. The 
 Louvre, the Hermitage, the Prado, the Dresden Gallery, the 
 Berlin Gallery, and the National Gallery also contain characteristic 
 canvases. England is on the whole singularly poor in examples 
 from his brush. 
 
 No. 9 . The Virgin and Child^ with St. John the 
 
 Baptist (f) and two Angels. Gallery XVI. 
 
 3 ft. 6 in. h. by 2 ft. 8 in. w. 
 
 This picture is the unquestionable original of many repetitions 
 and copies. Of these, there are two. Nos. 384 and 390, in the 
 Prado Gallery, at Madrid. Others are to be found in the gallery 
 at Munich, and in the collection at Longford Castle. Another 
 copy is in the possession of Lt.-Col. H. M. L. Hutchison at 
 Exeter. 
 
 A sheet of drawings by Andrea del Sarto, upon which are two 
 studies for the “St. John” in this picture, is iii the Print Room 
 of the British Museum. . . . 
 
 14283— (W.C.) K 2 
 
120 
 
 SASSOFERRATO— SCHALCKEN. 
 
 SASSOFERRATO (Giovanni Battista Salvi). 
 
 Bolognese School. Called after his birthplace Sassoferrato. 
 Born on the 11th July, 1605, at Sassoferrato. Died at Rome on 
 the 8th April, 1685. Pupil of his father, Tarquinio Salvi, but 
 developed under the influence of the Carracci School and their 
 followers. In the over-sweetness of his style and the finish of 
 his draughtmanship, though not in his types or his technique 
 generally, Sassoferrato bears some resemblance to his contemporary 
 Carlo Dolci. 
 
 No. 126. The Virgin and Child. Gallery XVII. 
 
 1 ft. 6 in. h. by 1 ft. 5 in. w. 
 
 No. 565. The Virgin and Child. „ I. 
 
 2 ft. in. h. by 2 ft. 4^ in, w. 
 
 Repetition on a larger scale of No. 126, and less 
 certainly from the painter’s own hand. 
 
 No. 646. The Mystic Marriage of St. Catharine. Board Room. 
 7 ft. 6 in. h, by 4 ft. 5 in. w. 
 
 This picture, though in style and execution it closely resembles 
 Sassoferrato’s work, shows in the chief personages types which are 
 distinguishable from his. 
 
 SCKAXiCBLER (Godfbied). 
 
 Dutch School. Born at Made, near Geertruidenberg, in 
 1643. Died on the 16th November, 1706, at The Hague. Pupil 
 first of Samuel van Hoogstraten, then of Gerard Dou. Schalken 
 practised chiefly at Dort, but was employed for some time in 
 England by William III., and at Diisseldorf by the Elector 
 Johann Wilhelm. His favourite candlelight pieces are borrowed 
 from those of his master Gerard Dou, by whose art, indeed, that 
 of Schalcken is entirely shaped and dominated. The pupil’s colour 
 is on occasion hot and disagreeable, and his laborious finish is not 
 often redeemed, like that of Dou, by the luminous breadth and 
 authority of the rendering. 
 
 No. 168. Girl watering Plants. Gallery XIV. 
 
 1 ft. h. by 8 in. w. 
 
 No. 171. Girl threading a Needle hy Candlelight. „ „ 
 
 7i in. h. by 6 in. w. 
 
SCHEFFER. 
 
 121 
 
 SCKBFFER (Aby), 
 
 French School. Born at Dordrecht, in Holland, on the 
 10th February, 1795, his father being a German and his mother 
 of Dutch origin. Died in 1858. Pupil first of his father in 
 Holland, then of Guerin in Paris. Scheffer, like Gdricault, re- 
 belled against the pseudo-classical style and the teachings of this 
 master, who represented the principles of the school of David. 
 He became one of the most ardent Romanticists of his day, and 
 as such achieved a reputation which the verdict of subsequent 
 generations has not ratified. A certain element of German mysticism 
 and sentimentality, attributable to his Teutonic origin, gave a 
 peculiar colour to his art. He began his career with scenes of a 
 pathetic realism, but in his maturity turned his attention chiefly 
 to the works of the great poets worshipped by the Romanticists, 
 and more particularly to Dante, Goethe, Schiller, and Byron. 
 On motives derived from their works many of his once celebrated 
 compositions are based. In his last period he devoted himself 
 chiefly to sacred art. 
 
 No. 284. Gretchen at the Fountain. — From Goethe’s 
 
 “Faust.” Gallery XY. 
 
 5 ft. 3 in. h. by 3 ft. 3i in. w. 
 
 Painted in 1858, and thus one of Scheffer’s last 
 works. 
 
 Bought by Sir Richard Wallace at the Yente 
 Pereire, in Paris, in 1872, for 56,000 francs. 
 
 No. 298. Portrait of a Child. ,, „ 
 
 ] ft. 3 in. by 11 in. w. 
 
 Painted in collaboration with Eugene Isabey. 
 
 No. 316. Paolo and Francesca, „ 
 
 5 ft. 51 in. h. by 7 ft. 7| in. w. 
 
 Bought at the San Donato Sale in 1870, for 
 100,000 francs. 
 
 Painted in 1835. A later repetition from the hand 
 of the artist, framed in precisely the same fashion, 
 no doubt from his own design, is in the Academy of 
 Arts at St. Petersburg. Another, of smaller dimen- 
 sions, has been bequeathed by the family of the 
 ai-tist to the Louvre. 
 
 No. 321. The Return of the Prodigal Son. „ ,, 
 
 2 ft. h. by 1 ft. 8 in. w. 
 
122 
 
 SCHELFHOUT—SIENESE SCHOOL. 
 
 No. 616. The Sister of Mercy, 
 1 ft. \ in. h. by 1 ft, 3^ in. w. 
 
 Gallery X. 
 
 J 
 
 No. 687. A Mother and Child. — Water-colour. 
 8 in. h, by 6| in, w. 
 
 XXI, 
 
 SCKEIiFKOUT (Andreas). 
 
 ^Modern Dutch School. Born at The Hague on the 16th 
 February, 1787 ; died there on the 19th April, 1870. Pupil of 
 Johannes Breckenheimer. A painter of landscape who in his 
 own day achieved considerable success. He very frequently 
 rendered winter scenes. 
 
 No. 573. Winter in Holland. Gallery IX* 
 
 1 ft. in. h. by 2 ft. ^ in. w. 
 
 French School. Born at Liibeck, of French parents, in 1804. 
 Died in 1880, Pupil of Baron Gros, and a student at the Ecole 
 des Beaux-Arts. He obtained the Grand Prix de Rome in 1831. 
 By this painter is a large canvas “ The Battle of Hohenlinden ” in 
 the Galerie des Batailles at Versailles. 
 
 No. 568. The Divorce of the Empress Josephine. Gallery IX, 
 
 1 ft. 8| in. h. by 2 ft. 7f in. w. 
 
 SIENESE SCHOOXi (14th Century). 
 No. 550. The Virgin and Child, with St. Peter and 
 
 This picture approaches closely in style to the works of Lippo 
 Memmi, but appears slightly less archaic in character than the 
 most typical of these. 
 
 SCKOPXN (H. F.). 
 
 St. John. 
 
 Gallery HI. 
 
SLINGELANDT— SPAGNA, 
 
 123 
 
 SZiXNGrXSZiANDT (Pieter Cornelis van). 
 
 Dutch School. Born at Leiden on the 20th October, 1640; 
 died there on the 7th November, 1691. Pupil of Gerard Dou, 
 whose laborious style and extreme finish he successfully 
 imitated. Slingelandt practised at Leiden. Among the public 
 galleries in which examples of his art are to be found may be 
 mentioned the Louvre, the Ryks-Museum at Amsterdam, the 
 Dresden Gallery, the Alte Pinakothek at Munich, the Berlin 
 Gallery, and the Staedel Institut at Frankfurt-am-Main. 
 
 No. 205 . A Scene of Courtship. 
 
 1 ft. 1 in. h. by 10 in. w. 
 
 Hitherto catalogued as by Ary de Toys. 
 
 SNVDERS (Frans). 
 
 Flemish School. Baptized at Antwerp on the 11th November, 
 1579 ; died there on the 19th August, 1657. Pupil of Pieter 
 Brueghel, the younger, and afterwards of Hendrick van Balen. 
 He settled permanently at Antwerp after travelling in Italy during 
 the years 1608 and 1609. Snyders began by painting still-life, 
 dead game and fish, fruit and vegetables, and, later on. under the 
 influence of Rubens, produced pictures in which these subjects 
 were relieved by the introduction of the human figure, as well as 
 dramatic hunting-scenes with savage beasts at bay, in which he 
 showed himself second only to his great exemplar. He frequently 
 collaborated both with nis great chef d'ecole and with the painters 
 of his circle. The colouring of Snyders is hard and trenchant as 
 compared with that of Rubens and some other contemporaries of 
 the Flemish school, tut he is unsurpassed in the incisive force of 
 his touch, and the sustained vigour of his execution. 
 
 No. 72 . Dead Game with Male Figure. Gallery XVI. 
 
 4 ft. If in. h. by 6 ft. 6 in. u). 
 
 SPAGNA (Giovanni di Pietro, called Lo Spagna). 
 
 Umbrian School. Born in the last quarter of the 1 5th century. 
 Died after 1530. Pupil of Pietro Perugino, and the fellow-student 
 
124 
 
 STANFIELD— STEEN. 
 
 of Raphael in the workshop of the former. Lo Spagna was in his 
 best manner a close imitator of his master, in many of whose 
 works he must have had a part. Not a few of his paintings are 
 still put down to Perugino, though they are to be distinguished 
 without much difficulty from his by reason of certain peculiar 
 mannerisms in the colouring, in the drawing of the human face, 
 and in the casting of draperies. 
 
 No. 545. The Assumption of the Magdalen. Gallery III. 
 
 1 ft. 2 in. h. by 11^ in. w. 
 
 STANFZEIiD (Clarkson), R.A. 
 
 British School. Born at Sunderland in 1793. Died on the 
 18th May, 1867. Stanfield began life as a sailor, but soon relin- 
 quished this calling, and began his art career as a scene-painter at 
 the Royalty Theatre in WeUclose Square, whence he passed in the 
 same capacity to Drury Lane Theatre. He was elected an 
 Associate of the Royal Academy in 1832, and a full member in 
 1835. Stanfield was one of the most assiduous exhibitors at the 
 Academy, to which he contributed a long series of marine subjects, 
 coast and river scenes, and landscapes, most of them of a romantic 
 character, or relieved by some dramatic incident. He so exhibited 
 altogether no fewer than 132 pictures. 
 
 No. 343 . Beilstein on the Moselle. Gallery XY. 
 
 3 ft. 9 in. h. by 5 ft. 3| in. w. 
 
 Exhibited at the Royal Academy in 1837. 
 
 No. 354 . Oxford on the River Ore. „ „ 
 
 10 in. h. by Ilf in. w. 
 
 No. 667 - A CaTval in Venice. — Water-colour. „ XXII. 
 
 1 ft. 1 in. h. by 9 in. w. ‘ 
 
 No. 712 . S. Giorgio Maggiore, Venice. „ „ XXI. 
 
 7i in. h. by 9f in. w. 
 
 STESN (Jan). 
 
 Dutch School. Born at Leyden about 1626 ; buried there on 
 the 3rd February, 1679. Steen was in 1646 a student at the 
 
STORCK. 
 
 125 
 
 University of Leyden. He was a pupil of Nikolaus Knupfer, at 
 Utrecht ; then, it is said, of Adriaen van Ostade, at Haarlem ; and, 
 finally, of Jan van Goyen, at The Hague. He married the daughter 
 of the latter in 1649. Steen came also within the circle of 
 influence of Frans Hals. In Leyden he is said to have combined 
 the business of a tavern keeper with the occupation of painting. 
 Steen was in his more carefully rendered efforts one of the most 
 brilliant and accomplished painters of the Dutch School. His 
 most usual mood was that of a coarse, boisterous, yet genial 
 humour, strongly inclining to low comedy and broad farce ; but 
 he could be in turn a grim and a sly satirist, and even on occasion 
 a simple and pathetic realist. His art is, however, like that of 
 Adriaen van Ostade, considerably marred by the monotonous and 
 mask-like character of the expression in many of his faces. He 
 seldom succeeds in combining breadth of generalization with 
 truthful adherence to individual nature. 
 
 No. 111. A Supper Scene. Gallery XVII. 
 
 2 ft. 10^ in. h. by 3 ft. 6 in. w. 
 
 No. 150. The Guitar Player. „ XIV. 
 
 1 ft. in. h. by 1 ft. 7| in. w. 
 
 No. 154. The Harpsichord Lesson. ,, „ 
 
 1 ft. in. h. by 1 ft. 7 in. m. 
 
 No. 158. Merry Making in a Tavern. „ „ 
 
 2 ft. 4f in. h. by 2 ft. If in. w. 
 
 No. 209. A Boor Household. „ XIII. 
 
 1 ft. 3f in. h. by Ilf in. w. 
 
 STORCK. (Abkaham). 
 
 Dutch School. Born about 1630 at Amsterdam ; died there in 
 1710. An imitator and, perhaps, pupil of Ludolf Backhuysen. 
 The aim of Storck in the riverside pieces, set off with florid 
 buildings in the style of the 17th century, with which his name is 
 •chiefly connected, is mainly a decorative one. Pictures from his 
 
126 
 
 STRY—SULL^. 
 
 hand are to be found in the National Gallery (No. 146), and int 
 the galleries of Dresden, Rotterdam, and Brussels.^ 
 
 No. 208 . A Riverside Scene. Gallery XIV*, 
 
 2 ft. 11 1 in. h. by 3 ft. 9| in. w. 
 
 STRV (Jacob van). 
 
 Dutch School. Born at Dordrecht on the 2nd October, 1766 
 died in that town on the 4th February, 1815. Pupil of Andreas- 
 Cornelis Lens. A deliberate and very close imitator of Aalbert , 
 Ouyp. 
 
 No. 147. Cattle. Gallery XIV., 
 
 1 ft. 3f in. h. by 1 ft. 2 in. w. 
 
 SUXiZiV (Thomas). 
 
 American School. This painter was born in England in 1782, 
 but went to the United States as a child and was educated at 
 Washington. In 1820 he came to London and was much; 
 encouraged by Sir Thomas Lawrence. He returned to America 
 in 1838, and died at Philadelphia in November 1872, at the age of 
 ninety. A very similar but rather more elaborate full-length 
 portrait was painted by Sully as a commission from the St. George’s 
 Society of Philadelphia, and is now in the Academy of Fine Arts 
 of that city. Some curious particulars as to the painting of these 
 portraits of Queen Victoria are to be found in a paper entitled 
 “Recollections of an Old Painter,” written by Sully in old age,, 
 and published, in November 1869, in an American magazine, 
 “ Hours at Home.” The Hertford House picture was copied by 
 command of Her late Majesty for Kensington Palace. 
 
 No. 564. Portrait of Her Majesty Queen Victoria in 
 
 her Robes of State. Gallery I. 
 
 4 ft. 6i in. h. by 3 ft. 7| in. w. 
 
 In Gallery XI. is to be found a water-colour copy of this- 
 picture. 
 
SYMONDS— TENIERS. 
 
 127 
 
 SVMONDS (W. E). 
 
 British School. 
 
 No. 578. Portrait of Sir Richard Wallace^ BarL^ 
 
 K.C.B., M.P. Gallery IX. 
 
 Painted in 1885, and presented to Sir Richard and Lady 
 Wallace by “ Tenants and Friends of the Sudbourn Estate.” 
 
 TENXEXIS (David), the Younger. 
 
 Flemish School. Baptized at Antwerp on the 15th December, 
 1610. Died at Brussels on the 25th April, 1690. Pupil of his 
 father, David Teniers the Elder, and further developed under the 
 influence of Adriaen Brouwer, and, in a wider sense, of Rubens. 
 The career of Teniers is one unbroken record of success and easy 
 achievement. The Archduke Leopold William, Governor of the 
 Spanish Netherlands, appointed him his court painter and the 
 keeper of his rich gallery of paintings, of which, with the pictures 
 in it, Teniers painted many and diverse views, some of which are 
 now to be found in the Imperial Gallery of Vienna and the Alte 
 Pinakothek of Munich. He further painted a vast number of 
 small copies from pictures in that prince’s gallery, a great many 
 of which were formerly collected at Blenheim Palace. Several 
 examples of this class are in the Wallace Collection. Teniers 
 bought himself a picturesque country seat at Perck, between 
 Antwerp and Mechlin, and there received the best company of his 
 native city. His style of execution at its highest is incomparably 
 sparkling and brilliant ; his colour fresh, bright, and stimulating ; 
 his humour merry and superficial. He is at his best when he 
 studies nature and humanity at first-hand, and not when he 
 contents himself, as he too often does, with a restricted number 
 of well-worn types and incidents taken once for all from the 
 contemporary peasant life of his native Flanders. Almost all the 
 public and private galleries of importance in Europe possess 
 examples of this prolific master ; but the most important group 
 of his works is to be found in the Hermitage at St. Petersburg. 
 This numbers no less than forty-three canvases, among which is his 
 masterpiece, “ Les Arquebusiers et les Membres des Corporations 
 d’ Anvers.” 
 
128 
 
 TENIERS. 
 
 No. 191. The Entry of Charles II. into a Flemish 
 
 Gallery XIV. 
 
 2 ft. li in. h. by 2 ft. 7f in. w. 
 
 No. 196. A Riverside Inn. XIV. 
 
 9 in. h. by 1 ft. 1^ in. w. 
 
 No. 210. The Deliverance of St. Peter. ,, XIII. 
 
 Signed “ D. Teniers f.” 
 
 1 ft. 2 in. h. by 1 ft. 7^ in. w. 
 
 There is another “ Deliverance of St. Peter,” by 
 Teniers, of quite different design, in the Dresden 
 Gallery. Very similar to No. 210 in composi- 
 tion, but larger and more elaborate, is “ The 
 “ Guard Room,” in the Hermitage, at St. Peters- 
 burg. 
 
 No. 227. Boors Carousing (“La Chemise Blanche”). „ „ 
 
 Signed “ David Teniers f.” 
 
 1 ft. 1^ in. h. by 1 ft. 6^ in. w. 
 
 No. 231. Soldiers Gamhlina, 
 
 1 ft. 3^ in. h. by 1 ft. 9| in. w. 
 
 No. 635. The Ascension. . Board Room. 
 
 After an Italian Master. 
 
 I ft. h, by 8 in. w. 
 
 No. 636. The “ Virgin of the Cherries.'^ „ 
 
 After Titian’s picture in the Imperial Gallery at 
 Vienna. 
 
 6^ in. h. by 6f in. w. 
 
 No. 637. The Woman Tahen in Adultery. Gallery XI. 
 
 After the picture in the Imperial Gallery of 
 Vienna ascribed to Titian, but now believed to be 
 by Padovanino. 
 
 in. h. by 8f in. . C ^ C 
 
 ^ 
 
 
 
 
TERBORCH. 
 
 129 
 
 No. 638. The Mystic Marriage of St. Catharine. Board Room. 
 After Bartolommeo Schedone (?). 
 
 1 ft. h. by 8 in w. 
 
 TERBORCK, or TER BORCK (Gerard). 
 
 Dutch School. Born at Zwolle in Overyssel, 1617. Died at 
 Deventer on the 8th December, 1681. Terborch received pre- 
 liminary instruction from his father Gerard Terborch the Elder, 
 a rather obscure painter, and then became the pupil of Pieter 
 Molyn at Haarlem, in which city he also came under the influence 
 of Frans Hals. He afterwards visited England, and then, setting 
 out on further wanderings, travelled through Germany to Italy, 
 and returned to Holland by way of France. He remained some 
 time at Amsterdam, and there studied the works of Rembrandt. 
 In 1646 he repaired to Munster, where, in 1648, he painted the 
 famous “ Ratification of the Treaty of Peace,” which was pre- 
 sented by the late Sir Richard Wallace to the National Gallery, 
 of which it is one of the chief treasures. The Comte de 
 Pefieranda, Spanish Plenipotentiary at the Imperial Court, took 
 Terborch with him to Spain, and he there had an opportunity 
 of studying Yelazquez. The Dutch master was again in Holland 
 in 1650. In 1654 he settled down at Deventer, and it is there 
 that he elaborated the style of his maturity, and produced those 
 studies of Dutch life and manners which have won for him his 
 greatest fame. Though Terborch had thus exceptional oppor- 
 tunities for studying the greatest masters of his own and earlier 
 times, he was in no sense an eclectic. He developed his own 
 artistic personality and his own style quite consistently, though 
 he was undoubtedly aided by the great examples before him. If 
 Terborch -has not the dramatic intention or the finesse of obser- 
 vation of Metsu, he far surpasses him as a colourist. In this 
 respect Terborch is indeed supreme among the “small masters” 
 of his time. In freshness and delicacy, in reticent and subtle 
 harmony, above all in the inventiveness of his colour-schemes he 
 stands alone. He is sometimes less than happy in his combination 
 of single figures and studies, which have already done duty 
 elsewhere, into compositions of a genre character. 
 
 No. 235. A Lady at Her Toilet. Gallery XIII. 
 
 1 ft. 2 in. h. by 11 in. w. 
 
 No. 236* A Lady Reading a Letter. 
 
 1 ft. 5 in. h. by 1 ft. i in. w. 
 
TIZIANO. 
 
 130 
 
 TXZXANO (Tiziano Vecellio). 
 
 ] 
 
 Venetian School. Called Tiziano and (in England) Titian. 
 Born at Pieve di Cadore, in Friuli, in 1477. Died at Venice on 
 the 29th August, 1576. Developed in the school of Giovanni and 
 Gentile Bellini, and above all under the influence of Giorgione, his 
 contemporary. Titian collaborated with the latter in the frescoes 
 of the Fondaco de’ Tedeschi, now almost entirely effaced. In 
 1511 he painted three frescoes in the Scuola del Santo of Padua, 
 still in the style common to Giorgione and himself in the first 
 decade of the 16th century. Typical works of the early time 
 are the “ Three Ages,” of the Bridgewater Gallery, the falsely 
 named “ Sacred and Profane Love,” of the Borghese Gallery, and 
 the “ St. Mark Enthroned, with Saints,” which is in the Sacristy 
 of the Santa Maria della Salute at Venice. Titian’s growing 
 fame attracted the attention of Alfonso I., Duke of Ferrara, for 
 whom he painted the “ Cristo della Moneta,” of the Dresden 
 Gallery, the “Worship of Venus” and “Bacchanal,” of the Prado 
 Gallery at Madrid, and the “ Bacchus and Ariadne,” of the 
 National Gallery. 1518 saw the completion, and the setting up 
 on the high altar of the Frari at Venice, of the great Assunta or 
 Assumption of the Virgin. To the year 1526 belongs the 
 Pesaro altar-piece, still in the Frari, and to 1528 the “ St. Peter 
 Martyr,” painted for the chapel of that saint in the church of 
 SS. Giovanni e Paolo, and which was very generally cited by 
 his biographers as Titian’s masterpiece. It perished in a fire 
 which destroyed the sacristy of the church in August, 1867. In 
 1532, on the occasion of his second visit to Bologna, Titian 
 painted Charles V., and this proved to be the beginning of a con- 
 nection with the Royal house of Spain «rhich lasted as long as life. 
 He painted the Farnese Pope, Paul III., a first time at Bologna 
 in 1543, and again in 1545 at Rome, on the occasion of his only visit 
 to the Eternal City. The finest original from Titian’s own hand 
 representing this pontiff, is the unfinished piece in the Naples 
 Gallery, in which he appears with Cardinal Farnese and Ottavio 
 Farnese, his relations. In 1548, the master proceeded to Augsburg 
 and there painted the incomparable equestrian portrait of Charles V. 
 now in the Prado Gallery, as well as another portrait now in the 
 Alte Pinakothek at Munich. Among the many great works of 
 the later time executed for Philip II. — a large proportion of them 
 dedicated to the worship of sensuous beauty — may be mentioned 
 the “ Venus and Adonis ” of the Prado, the “ Diana and Calisto,” 
 and “ Diana and Actaeon ” of the Bridgewater Gallery, the 
 “Perseus and Andromeda” of this collection, the “Rape of 
 Europa,” formerly in the Earl of Darnley’s collection at Cobham, 
 and the “Jupiter and Antiope,” or “ Venere del Pardo” of the 
 
TIZIANO. 
 
 131 
 
 Louvre. The sacred works of the latest stage in the wonder- 
 ful life of a century less a few months, are marked by a 
 more sombre passion, by a greater intensity than those which 
 preceded them. Among these may be cited the “ Ecce Homo ” 
 of Munich, which is a later version of the picture in the Louvre, 
 and the “Pieta” of the Accademia delle Belle Arti at Venice, 
 left unfinished at the master’s death and completed by Palma 
 Oiovane. The “ Education of Cupid ” at the Borghese Gallery, and 
 the still later “ Nymph and Shepherd ” of the Imperial Gallery 
 at Vienna, are among the last productions of the artist’s brush 
 devoted to the glorification of feminine loveliness. Titian, 
 in the first section of his career, brought to perfection the 
 Giorgionesque phase of Venetian art ; his middle time represented 
 at its height the splendour and the dignity of the full Renaissance ; 
 the art of his last period while, on the one hand it embodied 
 in mythological subjects a lower and more sensuous ideal of 
 humanity and of poetry, was marked, on the other, by a sombre 
 fire and an intense conviction, by a sentiment of awe and almost 
 of fear, in the treatment of sacred subjects, which answered 
 to, and emanated from, the Catholic Revival. 
 
 No. 5 . The Rape of Europa (after Titian). Gallery XVI. 
 
 1 ft. 11 in. h. by 2 ft. 4^ in. w. 
 
 The original work, one of the most notable pro- 
 ductions of the late time, was formerly at Cobham, 
 but is now in the collection of Mrs. J. Gardner at 
 Boston, U.S.A. A copy by Rubens, of the same 
 size as the original, is in the Prado Gallery at 
 Madrid. This very fine copy on a reduced scale 
 reproduces with singular fidelity the beauty and 
 charm of the original. By Crowe and Cavalcaselle 
 it has been tentatively attributed to the pupil and 
 son-in-law of Velazquez, Juan Bautista del Mazo. 
 
 No. 11 . Persem and Andromeda. „ „ 
 
 5 ft. lOi in. h. by 6 ft. 6i in. w. 
 
 Painted for Philip II., about 1562, and highly lauded by 
 Vasari in' the “Vite.” It was in the Orleans Gallery, and 
 was then engraved by T. L. Delignon. With the other 
 
 Italian pictures belonging to this famous collection, it was sold 
 in London in 1798, and was then purchased by Mr. Bryan, 
 the picture-dealer. The “ Perseus and Andromeda,” which 
 has been hidden away and lost to the world since the 
 
132 
 
 TROY. 
 
 first years of the nineteenth century, now for the first time 
 takes its place in the Wallace Collection. In Sir Abraham 
 Hume’s “Notices of the Life and Works of Titian (London: 
 Rodwell, 1829), the “Perseus and Andromeda” is mentioned as 
 having come into the Orleans Gallery from the collection of M. de 
 la Yrilliere, and as naving been previously with the “Rape of 
 Europa ” in the gallery of Christina, Queen of Sweden ; but 
 further research tends to show that the originals of these pictures 
 were never in that collection. At the date of publication of this 
 work (1829) the picture was in the possession of the then Marquis 
 of Hertford. It was mentioned by Dr. Waagen as a Paolo Veronese 
 painted under the infiuence of Titian, and since his time has been 
 completely forgotten. The life-size contemporary copy at the 
 Hermitage in St. Petersburg was there for many years classed 
 as a Tintoretto, but has in the later catalogues been restored to 
 Titian. Among other Venetian pictures which are based on this 
 work may be mentioned the “ Perseus delivering Andromeda,” of 
 Palma Giovane, in the gallery at Cassel, and the painting of the 
 same subject, by Paolo Veronese (or a painter of his school), 
 in the Museum of Rennes in France. 
 
 No. 646. Danae and the Golden Rain. Gallery III. 
 
 1 ft. h. by 1 ft. 6 in. w. 
 
 A Bolognese copy (possibly by Francesco Albani) of Titian’s 
 great work painted at Rome in 1545, and now in the Naples 
 Gallery. 
 
 TROV (Jean-Fran50IS de). 
 
 French School. Born at Paris in 1679. Died at Rome on the 
 24th January, 1752. Pupil of his father, the portrait-painter 
 Francois de Troy. He went to Italy at the age of twenty, and 
 remained there until 1706. He was received by the Academie 
 Royale on the 28th July, 1708, and was in 1719 appointed 
 professor. To the year 1727 belong his rivalry with Le Moine — 
 another master of monumental decoration — and the competition in 
 which he divided the prize with his rival. In 1728 ha decorated 
 the apartments of the financier, Samuel Bernard, and in the 
 succeeding year completed thirty-six compositions for the h6tel of 
 M. de la Live. Finding that the art of Watteau and the other 
 painters of FUes Galantes was more and more gaining ground, De 
 Troy boldly and successfully cast aside the ideals of the age of 
 
TROYON. 
 
 133 
 
 Louis Quatorze, and adopted the new style, producing in it such 
 charming things as the “Dejeuner d’Huitres ” of the Cond^ 
 Museum at Chantilly, “La Surprise,” in the Jones collection at 
 the Victoria and Albert Museum, and the “Conversation Galante” 
 in the Palace of Sans Souci, near Potsdam. He took part in the 
 decoration, in this style, of the Petits Cabinets at Versailles. In 
 1738 De Troy was appointed Director of the Academie de France 
 at Rome. Among his most considerable achievements are oil 
 paintings executed as the designs for two great series of Gobelins 
 tapestries, “ The History of Queen Esther ” and “ The History of 
 Medea and Jason.” Those for the former series were exhibited 
 at the Salons of 1737, 1738, 1740, and 1742 ; those for the latter 
 at the Salon of 1748. Admirably preserved sets of these tapestries 
 exist in the state apartments at Windsor Castle. A complete of 
 the “ Medea and Jason ” series is owned by Lord Burton. The 
 Academie de France at Rome has a perfect set of the “ History of 
 Queen Esther.” De Troy, thinking that he had causes of com- 
 plaint against the court, demanded his recall, which, to his great 
 surprise and disgust, was conceded. When he was reluctantly 
 making preparations to leave Rome he was overtaken by an illness, 
 to which he succumbed. Important works by De Troy, other 
 than those above mentioned, are to be found in the Louvre, the 
 provincial museums of Angers and Nancy, and the Hermitage of 
 St. Petersburg. 
 
 No. 463 . The Hunt Breakfast (“ Un Dejeuner Gallery XX. 
 de Chasse”). 
 
 1 ft. 9f in. A. by 1 ft. 5f in. w. 
 
 Exhibited under the above title at the Salon 
 of 1737. 
 
 No. 470 . The Stag at Bay (“ La Mort d’ un „ „ 
 
 Cerf ”). 
 
 1 ft. 9f in. A. by 1 ft. 6| in, w. 
 
 Exhibited with No. 463 as above. 
 
 TROVON (Constant). 
 
 French School. Born at Sevres in 1810. Died at Paris in 
 1865. He entered the porcelain factory of his native town, 
 14283— rw -j > L 
 
134 
 
 TURNER 
 
 Sevres, in 1817 and there received some lessons from Kiocreux. 
 In the course of his wanderings in search of landscape motives, he 
 met Roqueplan, who gave him valuable advice and assisted in the 
 development of his art. He first exhibited at the Salon in 1833. 
 Taking up his quarters in the year 1842 in Paris, he found himself 
 in the midst of a brilliant group of landscape painters, forming a 
 school whose achievements have not been surpassed — if, indeed 
 they have been equalled — by the Dutch masters of the 17th 
 century. Among these were Decamps, Rousseau, J. Dupr4, 
 Millet, Daubigny, Diaz, Huet, Francois, and Harpignies, Troyon 
 began his career as a landscape painter pure and simple, but, 
 after studying Paul Potter’s works, developed, from the year 1848 
 onwards, an unsuspected capacity for cattle painting. It is in the 
 combination of cattle with landscape, so as to make an integral 
 whole, in which the one element ©f the picture cannot be con- 
 ceived without the other, that Troyon is supreme. In this respect 
 he surpasses even Paul Potter, while the Dutch master is greatly 
 his superior in the individualisation, and what may be called the 
 dramatic characterisation, of cattle and domestic animals. A 
 comparison of the two eminent painters in the same class of 
 subject can be mad© in the galleries of Hertford House. Two 
 of Troyon’s masterpieces are the “Vallee de la Toucque/’ 
 formerly in the Goldschmidt collection, and the “Boeufs se 
 rendant au Labour ” (1855). in the Louvre. < ^ . j , 
 
 Oi'i CjjuutuAj ^ 
 
 No. 344. Waferinff Cattle. ^ Gallery XV 
 
 3 ft. Ilf in. h. by 6 ft. in. w. Ail Unekteti 
 
 .No. 359. Cattle in Stormy Weather, ciu. o/eui. n n 
 
 1 ft. 3| in. h. by 1 ft. 10^ in. ^ 
 
 liOLckt mMele 4 - ^ , du 
 
 TURNER (Joseph Mallord William), R.A. 
 
 British School. Born on the 23rd April, 1775, in Maiden Lane,. 
 Covent Garden. Died at Chelsea on the 19th December, 1851. 
 Turner was the friend and fellow-student of Girtin, the water 
 colour painter, and owed much to the example of John Robert 
 Cozens. He profited greatly by the opportunities afforded for 
 copying a collection of drawings in the possession of Dr. Munro, 
 of the Adelphi. Turner entered as a student of the Royal 
 Academy in 1789, he was elected an A.R.A. in 1799, and in 1802 
 became a full R.A. In this year he visited France and Switzer- 
 land. In 1807 he began to publish his “ Liber Studiorum,” a 
 
 (.’i 1/04^ M 
 
 /JSr 
 
TURNER. 
 
 m 
 
 series of designs in mezzotint and etching, done in emulation 
 of Claude Lorrain’s “ Liber Veritatis,” though not with the 
 object, fulfilled by the last-named series, of authenticating picture*^ 
 already painted. In 1812 Turner built himself a house, 47, Queen 
 Anne Street, in which he had a gallery where for many years he 
 exhibited a selection of his pictures. He visited Italy three 
 times : in 1819, in 1829, and again about 1840. He died unmarried 
 under an assumed name in an obscure lodging at Chelsea, and was 
 buried by the side of Sir Joshua Reynolds, in the crypt of St. Paul's 
 Cathedral. His large fortune, both in pictures and funded property, 
 he bequeathed to his country : the finished pictures being given to 
 the nation, on condition that the Government should provide suit- 
 able accommodation for them within ten years; the funded property 
 going towards the establishment of an institution for the benefit 
 of decayed artists. Ruskin divides Turner’s career, irrespective of 
 his student’s days, into five periods. The first comprises, accord- 
 ing to him, the years between 1800 and 1810 ; the second those 
 between 1810 and 1820 ; the third those between 1820 and 1830 ; 
 the fourth those between 1830 and 1840 ; the fifth and last period 
 those between 1840 and 1850. For general purposes, however, 
 the career may be divided into three great styles. The first 
 period is one of careful notation of natural fact, of sombre 
 grandeur, of dignity and reserve. The second period shows the 
 master interpreting, still with well-restrained emotion, the beauties 
 of his native country, as well as of Switzerland and Italy, indulging 
 on occasion in the highest finish, and greatly developing his power 
 and variety as a colourist. To this phase of his art belongs the 
 brilliant yet mistaken imitation, or emulation, of Claude Lorrain, 
 in such works as the “Dido building Carthage,” and other similar 
 canvases in the National Gallery. We find him in the third and 
 greatest period rising to heights hardly attained by any other 
 landscape painter, and standing alone in the lyrical interpretation 
 of nature, in the conception and realisation of dream-visions as 
 sad and awe-inspiring as they are radiantly beautiful. It is not 
 safe to judge this period of Turner’s career exclusively from the 
 oil paintings, as even the greatest of these have been to a certain 
 extent impaired by a process of disintegration resulting from the 
 hazardous experiments of his technique. The finest of the water- 
 colours alone give an adequate notion of what he attempted and 
 achieved in this the greatest phase of his wonderful career. 
 
 No. 651. Woodcock Shooting ; with the Portrait Gallery XXII. 
 of Sir H. Pilkington (1813). 
 
 11 in. h, by 1 ft. 3^ in. w. 
 
 This and the three following drawings belong to the earlier 
 middle period. 
 
 14283— (W.C.) L 2 
 
136 
 
 UMBRIAN SCHOOL— VELAZQUEZ. 
 
 No. 654. Scarhorough Castle: Boys Crah-fishing Gallery XXI L 
 
 (1809). A. /A// ^^cA'- 
 
 11 in, A. by 1 ft. 3| in. w. neU - /S66 - ^ 
 
 No. 661. Mowbray Lodge, R\pon, Yorkshire. „ „ 
 
 lOf in, h. by 1 ft. 3^ in. w. 
 
 No. 664. Grouse Shooting ; with the Portrait of „ „ 
 
 the Artist. (The dogs by Stubbs, 
 
 R.A.) 
 
 lOf in. h. by 1 ft. 3J in. w. 
 
 UBIBRIAN SCKOOIi (Late 15th or Early 16th 
 Century). 
 
 No. 540. The Virgin (fragment of an “ Annunciation ”)• — Fresco. 
 
 Gallery IH. 
 
 This fragment is by a Perugian artist of the last years of the 
 XY. or first of the XVI Century, influenced, apparently, both by 
 Perugino and Pinturicchio. 
 
 VZSIiAZQUSZ (Diego Velazquez de Silva, known as 
 Velazquez). 
 
 Spanish School. Born at Seville and baptized there on the 6th 
 J une, 1599. Died at Madrid on the 7th August, 1660. Pupil of 
 Francisco Herrera, the Elder, at Seville, and then of Francisco 
 Pacheco in the same city ; further developed under the influence 
 of H Greco’s pupil Luis Tristan, and, as it is said, also of Ribera. 
 The latter master had, however, left Spain in his youth, and in the 
 early time of his younger contemporary his pictures could not have 
 been common at Seville. Velazquez, who had married Pacheco’s 
 daughter Juana, paid a visit in 1622 to Madrid. He was invited to 
 return to the capital by the Count-Duke of Olivares, and by him pre- 
 sented to Philip IV., then a young man of something less than his 
 own age. The king very soon afterwards appointed him Court 
 Painter. In 1629 Velazquez paid his first visit to Italy, spending 
 a>year in Rome and some time in Naples. His style was developed, 
 but not in any sense radically altered, by the contemplation and 
 study of the great Italian masters. A second journey to Italy was 
 undertaken in 1648, and it is to this period that belongs the won- 
 derful portrait of Pope Innocent X. now in the Panfili-Doria 
 Palace at Rome, and studies for which exist in the Hermitage 
 
VELAZQUEZ. 
 
 137 
 
 at St. Petersburg and at Apsley House. On his return the King 
 created him Aposentador Mayor or quarter-master, and decorated 
 him with the cross of Sant’ lago. In execution of the duties 
 belonging to this onerous office, he followed the King to Irun in 
 1660, on the occasion of the marriage of Louis XIV. with Philip’s 
 daughter, the Infanta Maria Theresa, and it is in consequence of 
 his exertions on this occasion that he was seized with the sickness 
 which, on his return to Madrid, proved mortal. In a Gobelins 
 tapestry, designed by Lebrun, with a representation of the marriage 
 ceremony, and showing the two monarchs with their courtiers 
 grouped opposite each other, Velazquez is depicted in the suite of 
 Philip. The first phase of the great Spanish master’s art is one of 
 naive and unaspiring realism. It is represented by the “ Aguador ” 
 and another similar work at Apsley House, and by canvases in the 
 Prado, the National Gallery, the Hermitage, and the collection of 
 Sir Francis Cook. The masterpiece of the second manner, which 
 may be taken to end with the second Italian journey, is “Las 
 Lanzas ” or “ The Surrender of Breda,” in the Prado Gallery ; 
 and to this time belong also the magnificent equestrian portraits 
 of Philip IV., Don Baltasar Carlos, and the Conde-Duque 
 de Olivdres, in the same place. The last and greatest manner 
 is illustrated by such world-famous pieces as “ Las Meninas ” 
 (“ The Maids of Honour ”), “ Las Hilanderas ” (“ The Carpet 
 Manufactory of Santa Isabel de Madrid ”), the “ -®sop,” and the 
 “ Menippus.” Velazquez, if not the greatest genius or the most 
 various artist of all time, is the greatest master of the brush that 
 the world has seen. In inventiveness and authority of design in 
 modes the most unconventional and the most personal to the 
 artist ; in force, directness, and concision of representation ; in 
 supreme certainty and accomplishment of execution, he is without 
 a rivaL His prosaic surroundings, and his mode of life at a Court 
 in which a freezing etiquette reigned supreme, compelled him to 
 confine his art within certain rigidly fixed boundaries. Even in por- 
 traiture he was absolutely reserved and objective, and only on 
 some few exceptional occasions coloured his wonderful present- 
 ments with full human warmth and vivacity. To the regions of 
 the imagination in which the greatest of the Italian masters dwelt, 
 to the highest phases of sacred art, in which they had shown 
 themselves supreme, Velazquez but seldom aspired, and never with 
 complete success. The Museum of the Prado at Madrid contains 
 all the most important masterpieces of Velazquez, and it is there 
 alone that his art can be completely studied and understood. The 
 Imperial Gallery at Vienna, the National Gallery, the Wallace 
 Collection, the Dresden Gallery, the Louvre, the Munich Gallery, 
 the Berlin Gallery, the Staedel Institut at Frankfurt, the Pitti 
 Palace, the Museum of the Capitol, the Estense Gallery at Modena, 
 
1B8 
 
 VELAZQUEZ. 
 
 and the Hermitage of St. Petersburg possess examples from his 
 brush. Among the relatively few great works by Velazquez to be 
 found in private collections may be mentioned the “Innocent X.” 
 in the Doria Palace at Rome, the “ Portrait of an Unknown 
 Gentleman” at Apsley House, the “Philip IV.’’ and “Conde 
 Duque de Olivares ” at Dorchester House, the “ Venus with the 
 Mirror ” in the Morritt Collection at Rokeby Park, the “ Femme a 
 I’Eventail ” here, and the “ Lady in the Mantilla,” in the Duke of 
 Devonshire’s Collection at Devonshire House. 
 
 No. 4 . Portrait of Don Baltasar Carlos, Infante of 
 Spain, (Ascribed to Velazquez.) 
 
 1 ft. 10 in. h. by 3 ft. 5f in. w. 
 
 This picture is a slightly larger repetition of 
 
 the painting by Velazquez, No. 616 in the 
 Imperial Gallery at Vienna. It is probably by 
 Juan Bautista del Mazo, the pupil and son-in- 
 law of the master. 
 
 No. 6 . Don Baltasar Carlos in the Riding School. 
 
 4 ft. in, h. by 3 ft. 4 in. w. 
 
 A somewhat similar but rather more elaborate 
 design by Velazquez — materially different, how- 
 ever, in the hgares and the working out — is in 
 the collection of the Duke of Westminster at 
 Grosvenor House. 
 
 No. 12 . Don Baltasar Carlos in Infancy. 
 
 3 ft. 10 in. h. by 3 ft. 1^ in. w. 
 
 This portrait closely resembles that of the 
 same baby prince in the picture by Velazquez, 
 
 “ Don Baltasar Carlos with his Dwarf,” formerly 
 in the gallery of the Earl of Carlisle at Castle 
 Howard. 
 
 No. 70 . A Boar Hunt. (Ascribed to Velazquez.) 
 
 2 ft. 2| in. h. by 3 ft. 7 in. w. 
 
 This does not appear to be, as has been 
 
 assumed, a study for the “ Boar Hunt No. 
 
 197 in the National Gallery, It represents the 
 same space in the forest region enclosed tor 
 the royal sport, but shows a much less 
 animated composition, of which only the left 
 half and the landscape agree precisely with 
 that of the National Gallery picture. The 
 hand, practised as it is, cannot be that of the 
 
 Gallery XVI. 
 
VELAZQUEZ. 
 
 13D 
 
 master himself, as we see it in the much injured but authentic 
 canvas of the National Gallery. Moreover the picture in the 
 Wallace Collection suggests rather a reduced and simplified 
 replica than a spontaneous sketch for a larger work. 
 
 No. 88. Portrait of a Spanish Lady (“ La 
 
 Femme a I’Eventail ”). Gallery XVI. 
 
 3 ft. \ in. h. by 2 ft. 3 in. w. 
 
 One of the very few extant portraits by 
 Velazquez presenting a lady of tne class outside 
 the restricted circle of the Spanish Court. The 
 same lady is presented in the wonderful sketch 
 
 The Lady in the Mantilla,” in the collection of 
 the Duke of Devonshire. That piece, though 
 materially different in design and shape, may 
 well have been a preliminary study from the life 
 for the less living and momentary but more 
 strongly and subtly characterised portrait in the 
 Wallace Collection. 
 
 No. 100 . Portrait of the Infanta Margarita 
 
 Maria. (Ascribed to Velazquez.) „ 
 
 2 ft. 3^ in. k. by 1 ft. 9^ in. w. 
 
 One of numerous repetitions. The type most 
 nearly approached here is that of the full lengths 
 in the Imperial Gallery of Vienna and the 
 Staedel Institut at Frankfurt-am-Main. 
 
 No. 106 . Equestrian Portrait of Philip /F., 
 
 after Velazquez. „ XVII. 
 
 2 ft. 2 in. h. by 1 ft. lOf in. w. 
 
 The copy, on a much reduced scale, by a con- 
 iemporary painter, of the life-size equestrian 
 portrait No. 1066 in the Gallery of the Prado. 
 
 No. 109 . Equestrian Portrait of the Count-Duhe 
 
 of Olivares., after Velazquez. ,, „ 
 
 The copy (as above) of the life-size equestrian portrait No. 1069 
 in the Gallery of the Prado. 
 
^^2i/cuc^ cte^ ^25? 
 
 tf^ 9 ^ 
 
 Q^Au^ /J^// - VELDE. 
 
 cA^xj^- , Tis<fiL9a^y4. 
 
 (Adriaen van de). ^ ^ a ^ r / re ^-^ 
 
 Dutcn School. Born at Amsterdam in 1 635 or 1636 ; died there 
 on the 21st January, 1672. Pupil of his father, the marine painter, 
 William van de Velde, the Elder, at Amsterdam, and afterwards of 
 Jan Wynants and Philips Wouwerman at Haarlem. Further 
 developed under the influence of Paul Potter. Adriaen van de 
 Velde practised his art chiefly at Amsterdam. He was, notwith- 
 standing a certain element of coldness and over-deliberation in 
 his execution, one of the most accomplished painters of landscape, 
 cattle, and figures that Holland produced during the great 
 period of the 17th century. In small pieces his art is of the 
 subtlest in the suggestion of atmospheric gradations ; in vast 
 canvases such as those in the Wallace Collection and the 
 PitzWilliam Museum at Cambridge, he appears relatively frigid 
 and hard. Adriaen van de Velde painted figures in the pictures of 
 Jacob van Ruysdael, Hobbema, Van der Heyden, Hackaert, and 
 others. 
 
 J, 
 
 , , No. 80 . The Departure of Jacob into Egypt. _ ^ Gallery XVI. , , 
 
 lTe*<Jc ^vt}-c^aA. 
 
 (/ 4 ft. 4^ in. h. by 5 ft. 10^ in. w. ^a. >spo^. 
 
 c?ie /i. oTlf tTHA^iy ou ieu^{ 
 
 XT- ■* f\f%. 'TTr 7 TT~ '^(?tUc4 fa. <.cCCe/i^ 
 
 Noonday 
 
 No. 199 
 
 1 ft. h. by 1 ft. 4 in. w. 
 
 VBIil>E (Willem van de), the Younger. 
 
 Dutch School. Born at Amsterdam in 1633. Died at Green- 
 wich on the 6th April, 1707. Pupil of his father, Willem van de 
 Velde, the Elder, and of Simon de Vlieger. The younger of these 
 marine painters was up to 1677, and again temporarily in 1686, 
 at Amsterdam. After 1677 both father and son were established 
 in England in the service of the English Crown ; to each of them 
 being granted a pension of £100 per annum — to the father “for 
 taking and making draughts of sea-fights,” to the son for 
 “ putting the said draughts into colours.” Both lived at 
 Greenwich, the father dying there in 1693, the son in 1707. 
 The father executed a great number of pen-and-ink draw- 
 ings, of which some are in the Ryks-Museum at Amsterdam ; 
 but no painting has hitherto been recognised with certainty as his. 
 The younger Van de Velde, though he does not equal Van de 
 
VENETIAN SCHOOL. 
 
 141 
 
 Cappelle in breadth and delicacy of aerial effecc or in poetic charm, 
 is incomparable in the accuracy of his draughtsmanship and the 
 authority of his composition, and very happy too, notwithstanding 
 a characteristic hardness, in the notation of atmospheric conditions, 
 and especially in the rendering of masses of white sunlit cloud 
 hanging heavy in skies of pale blue. 
 
 No. 77. A Naval Engagement. Gallery XVI. 
 
 2 ft. 9^ in. h. by 3 ft. 6^ in. w. 
 
 No. 137- ma (“ Le Coup de Canon”). „ XVII. 
 
 6 ft. 6 in. h. by 7 ft. 7 in. to. * 
 
 No. 143. A Coast Scene with Fishing Boats. „ XIV. 
 
 1 ft, I in. by 1 ft. 2| in. w. 
 
 No. 145. Ships in a Calm. „ ,, 
 
 1 ft. i in. A. by 1 ft. 2 in. w. 
 
 No. 194. The Embarkation of William^ Prince of Orange. „ „ 
 
 1 ft. 7 in. h. by 1 ft. 10 J in. w. 
 
 No. 215. Ships in a Bresze. ,, XIII. 
 
 1 ft. 4 in. h. by 1 ft. 9^ in. 
 
 No. 221. A Coast Scene with Shipping. ,, ,, 
 
 1 ft, 2| in. h. by 1 ft. w. in. 
 
 No. 246. Landing from Ships of War. „ „ 
 
 1 ft, ill in. h. by 2 ft. 5| in. w. 
 
 VENETIAN SCKOOZi (Early 16th Century). 
 
 No. 19. Venus disarming Cupid. Gallery XVI. 
 
 3 ft, 7| in. h. by 3 ft. w. 
 
 Formerly in the Orleans Gallery as a Giorgione, and then en- 
 graved by De Longueil and L, M. Halbou. Again sold in 1834 
 with the collection of Charles O’Neil, Esq., under the same name, 
 for the price of 90 guineas. 
 
142 
 
 VERBOECKHOVEN— VERNET. 
 
 This picture has hitherto been classed in the Wallace Collection 
 as by Giorgione. It stands midway in style between that master 
 and Titian in his Giorgionesque phase ; but with all the beauty of 
 the characteristically Venetian colour and the noble simplicity of 
 design, it is too weak in construction and, especially in the land- 
 scape, too empty in execution, to be by either the one or the 
 other of these great masters. The Venus, the Cupid, and the 
 landscape-background approximate more closely in type to the 
 productions of Titian in his early style than to the best 
 authenticated works of Giorgione. 
 
 VERBOECKHOVEN (Eugene-Joseph). 
 
 Belgian School. Born at Warneton, in West Flanders, on the 
 8th June, 1799. Died at Brussels on the 19th January, 1881. 
 Pupil of his father, Barthelemy Verboeckhoven. Painted chiefly 
 sheep and cattle, but also on occasion other animals, and land- 
 scapes. 
 
 No. 622 . Sheep and Cows. Gallery X. 
 
 1 ft. 4 in. h. by 1 ft. 9f in. w. 
 
 VERNET (Claude- Joseph). 
 
 French School. Born at Avignon on the 14th August, 1714. Died 
 in Paris, at his studio in the Louvre, on the 3rd December, 1789. 
 Pupil of his father, Antoine A^ernet, and of the Roman painter, 
 Bernardino Fergioni. Joseph Vernet set out at the age of 18 for 
 Italy, and then seeing the sea for the first time experienced a profound 
 artiscic emotion, which revealed to him his true vocation in painting. 
 At Rome he studied the ruins and landscapes in the environs of the 
 Eternal City, as well as the costumes of the higher and lower 
 olass and the people. Soon the “ Tempests,” the “ Calms,” the 
 ‘‘ Moonlight Scenes,” which were the outoome of these studies 
 became the fashion in Rome. He was recalled to France 
 after an absence of 20 years, and arrived in Paris in 1753. 
 He was received at the Academie Royale on the 23rd August 
 of that same year. Shortly afterwards the King gave him the 
 
VERNET. 
 
 143 
 
 order to paint the celebrated series of marine pictures, “ Les Ports 
 de France,” which occupied him during a period of nine years. 
 The principal canvases of this series are now in the Louvre. 
 
 No. 135 . Rocky Coast, with Skipping in a Storm. Gallery XVII. . 
 
 2 ft. 9| in. h. by 4 ft, 6^ in. w. 
 
 A “Coast Scene,” by Joseph Vernet, very 
 ^similar in design but of colossal dimensions, is at 
 Petworth House in Sussex. 
 
 .No. 480 . A River Scene. „ XX. 
 
 2 ft, I in. h. by ‘6 ft. II in. w. 
 
 VBXtNBT (Emile- Jean-Horace, called Horace Vernet). 
 
 French School. Sonof Carle and grandson of Joseph Vernet. Born 
 dn Paris, at his father’s studio in the Louvre, in 1789 ; died in the 
 same city on the 17th January, 1863. Horace Vernet’s career was 
 one of extraordinary brilliancy and material success, both artistically 
 and socially. He had at first identified himself with the Bona- 
 partist regime and the spirit of the Revolution, but afterwards 
 became the special protege of the Orleans branch of the French 
 Royal Family. ] n 1828 he was appointed Director of the Acad^mie 
 de France at Rome, and remained there until 1834. He then paid a 
 visit to Algeria. Versailles having, by decree of Louis-Philippe, been 
 converted in 1833 into an historical museum, that monarch confided 
 to Horace Vernet many gigantic tasks, including the execution of 
 vast canvases representing the battles of Jena, Friedland, and 
 Wagram. He next proceeded, by invitation of the Czar, to Russia, 
 and then, returning to France, was in 1837 sent officially to Algiers 
 to obtain material for illustrating the series of battles which culmi- 
 nated in the taking of Constantine. The “ Prise de la Smala ” 
 (1844) of the Versailles Gallery, one of the most colossal canvases 
 ever carried out by a single painter, was among the pictures produced 
 as the result of this visit. Biblical scenes, of which there are 
 examples in this collection, were treated by Vernet in the modern 
 spirit and in the modern Arab costume, a practice which he 
 defended before the Academy with the aid of evidence gathered 
 during his residence in the East and in Africa. During the last 
 
144 
 
 VERNET. 
 
 period of his career Vernet began to feel himself at a disad- 
 vantage in the competition with his younger and more gifted con- 
 temporaries. In these years he painted, among other things, 
 scenes of the Crimean War, including the “ Battle of the Alma.” 
 Horace Yernet was, as a painter, capable, various, and indefatig- 
 able, but never inspired with the lyrical enthusiasm of the Roman- 
 ticists or with the passion for truth that distinguished the realists of 
 the higher type who grew up in the later years of his career. His 
 chief rewards were reaped during his fife- time. Posterity has 
 only partially ratified the verdict of his contemporaries. The- 
 Museum of Yersailles contains Horace Yernet’s vastest and most 
 important works. Of the smaller compositions, the Wallace 
 Collection has the most complete and varied series. 
 
 No. 277 . A Roman Herdsman Driving OcAUe. Gallery XY.. 
 
 2 ft. 10 in. h. by 4 ft. 31 in. w. 
 
 No. 280 . The Arab Tale Teller. „ „ 
 
 3 ft. 2| in. h. by 4 ft. 51 in. w. 
 
 No. 336 . An Eastern Trader. „ „ 
 
 101 hi. h. by 8 in. w. 
 
 No. 346 . Judah and Tamar. ,, „ 
 
 4 ft. 21 in. h. by 3 ft. 2 in. w. 
 
 No. 349 . Joseph's Coat. ,. „ 
 
 4 ft. 6 in. h. by 3 ft. 31 in. w. 
 
 No. 367 . A Sentinel, „ ,, 
 
 2 ft. 11 in. h. by 1 ft. 9 in. tu. 
 
 No. 368 . A Moorish Chief. „ „ 
 
 2 ft. 1 in. fh. by 1 ft. 9 in. w. 
 
 No. 670. Soldiers Playing at Cards. „ IX.. 
 
 1 ft. 1| in. h. by 1 ft. 4 in. w. 
 
 No. 572. The Emperor Napoleon 1. Reviewing 
 
 Troops at the Tuileries. „ „ 
 
 2 ft. 1 in. h. by 3 ft. | in. w. 
 
VERNET. 
 
 145 
 
 No. 575. The Apotheosis of Napoleon. Gallery I X. 
 
 No. 577. The Brigand Betrayed. „ „ 
 
 1 ft. 9 in. A. by 2 ft. in. w. 
 
 No. 582. The Veteran at Home. „ „ 
 
 1 ft. 5^ in. A. by 1 ft. 2^ in. 
 
 No. 584. Arabs Travelling in the Desert. 
 1 ft. 61 in. A. by 1 ft. lOJ in. w. 
 
 No. 585. The Lion Hurd. 
 
 1 ft. 91 in. A. by 2 ft. 7 1 in. w. 
 
 No. 593. A Bashi Bazouk. 'ftetecc crl? 
 
 1 ft. 91 in. A. by 1 ft. 6 in. vo. O. d' S'., _ 
 
 No. 598. Peace and War. 
 
 1 ft. 91 in. A. by 1 ft. 6 in. w. 
 
 No. 606. Allan McAvlay (?) 
 2 ft. 1 in. A. by 1 ft. 81 in. w. 
 
 No. 607. The Dog of the Regiment Wounded. , , \ 
 
 1 ft. 8f in. A. by 2 ft. f in. w. 
 
 No. 608. The Sportsman. 
 
 1 ft. 6 in. A. by 1 ft. Ill w’* 
 
 No. 610. A Lady Hashing. 
 
 No. 613. The Dead Trumpeter. 
 1 ft. 81 in. A. by 2 ft. 1 in. w. 
 
 No. 614. The Quarry. 
 
 1 ft. 6 in. A. by 1 ft. Ill «’• 
 
 No. 619. The Duke of Orleans Entering Q>nsf online. 
 10 in. A. by 7^ in. w. 
 
146 
 
 VERONESE SCHOOL— VOS. 
 
 No. 719. A Charge of Cuirassiers. — Water-colour. Gallery XXI. 
 
 9 in. h. by 1 ft. | in. w. 
 
 No. 724. Heron Shooting. — Water-colour. „ „ 
 
 7| in. h. by 10| in. w. 
 
 No. 728. On the March. — Water-colour. „ 
 
 7i in. h. by 5 in. w. 
 
 No. 729. The Soldier's Grave. — Water-colour. „ „ 
 
 4^ in. h. by 3| in. w. 
 
 No. 740. A Sportsman. — Water-colour. .. „ 
 
 3^ m. by 4^ in. w. 
 
 No. 741. A Drummer. — Water-colour. „ „ 
 
 3 in. h. by 2 in. w. 
 
 No. 743. Soldiers Firing. — Water-colour. „ „ 
 
 2^ in. h. by 2 in. w. 
 
 VSRONSSE SCKOOZi (15 tu Century). 
 
 No. 536. The Annurvciation. Gallery HI. 
 
 VOS (CORNELIS de). 
 
 Flemish School. Bom at Hulst about 1585. Died at Antwerp 
 ©n the 9th May 1651. Pupil of David Remeeus. Cornelis de 
 Vos practised chiefly at Antwerp, where he was received into the 
 Guild of Painters in 1608. He acquired great reputation as a 
 portrait painter, even by the side of Ru^ns and Van Dyck. 
 Although, like all the Flemish artists of the same epoch, he came 
 within the circle of influence of the former great master, he 
 maintained more of independence than any other contemporary 
 Fleming, showing to the end that his art was rooted in that of 
 the preceding century. His portraiture is strong, sober, concen- 
 trated, objective, and withal full of vitality and character, 
 while that of Rubens is demonstrative, passionate, and uncon- 
 sciously subjective We must not, however, in the works of Von 
 
WATTEAU. 
 
 147 
 
 look for the pictorial splendour or the decorative attractiveness of 
 the chief of the school. The most characteristic canvases of De 
 Yos are to be found in the public galleries of Brussels, Antwerp,. 
 Munich, Brunswick, Berlin, St. Petersburg, and Frankfort-on-the- 
 Main, He is at present unrepresented in the National Gallery. 
 
 No. 18. Portrait of a Flemish Gentleman. Gallery XYI. 
 
 3 ft. 11 in, h. by 3 ft. w. 
 
 No. 22. Portrait of a Flemish Lady. „ „ 
 
 4 ft. h. by 3 ft. w. 
 
 WATTEAU (Antoine). 
 
 French School. Born at Valenciennes in 1684. Died at 
 Nogent, near Vincennes, on the 18th July, 1721. Pupil first of 
 in obscure painter at Valenciennes, then of Metayer, and after- 
 wards of Claude Gillot. Watteau, on leaving Metayer, entered 
 the service of a manufacturer of coarse daubs destined for the 
 provinces and for exportation. His particular task was to con- 
 stantly repeat a “ Saint Nicolas,” which he got to know by heart. 
 He next entered the studio of Claude Gillot, a painter, designer, 
 and draughtsman of a sprightly and original fancy, and himself an 
 innovator. It was the example of this artist which directed his 
 attention to the scenes of the Italian comedy and to schemes of 
 fanciful and brilliant decoration. According to Caylus, Gillot and 
 Watteau parted on bad terms. Watteau found a new home with 
 Claude Audran, the Keeper of the Luxembourg, and one of the 
 first decorative draughtsmen of his day. There he had great 
 opportunities for the study of Rubens, whose art, dissimilar as it 
 was to his in its essence, exercised a great and enduring influence 
 on that of the Valenciennes painter. The beautiful gardens of the 
 Luxembourg, less formal than those of the other royal palaces, left 
 a deep impress on Watteau’s landscape art. His two earliest extant 
 paintings are supposed to be the “ Depart de Troupe ” (or “ Recrue 
 Allant Joindre le Regiment”) and the “ Halte d’Armee.” These 
 were the first of a series of military pictures on a small 
 scale. Nevertheless, such genre pieces, based entirely on Flemish 
 models, as the “ Boors Rejoicing ” (or “ La Vraie Gai4te ”) in the 
 collection of 8ir Charles Tennant, and the “ Laveuse de Vaisselle ” 
 in the Municipal Gallery at Strassburg, may well belong to a still 
 earlier period. On his return from a journey to Valenciennes the 
 artist took up his abode with Sirois, the dealer. In 1712 
 he came into contact with Crozat, and enjoyed unrivalled 
 
148 
 
 WATTEAU. 
 
 opportunities for the study of his great collection of paintings 
 and drawings by old masters. It was then that Watteau, 
 made acquainted with the Venetian masters of the sixteenth 
 century, and with their example before him, completely developed 
 the finer and more poetic side of his art. If in his colour- schemes 
 and the general arrangement of his pictures he owes much to 
 Paolo Veronese, his mode of conception shows a natural affinity 
 to that of Giorgione and the painters of his immediate 
 group. There are to be detected throughout his life-work, 
 from this point onwards, traces of the direct influence of this 
 collection of paintings and drawings upon his development. He 
 became himself, in his studies from nature, executed very fre- 
 quently in three chalks, the greatest and most expressive 
 draughtsman of the eighteenth century. He was received by 
 the Academie Royale on the 28th August, 1717, the work 
 presented and accepted on that occasion being the famous 
 “ Embarquement pour Gy there,” now in the Louvre, and of which 
 a more finished and elaborate but less charming version exists 
 in the Royal Palace at Berlin. Watteau, whose health had never 
 been robust, developed at this period a restlessness and irritability 
 peculiar to the phthisical temperament. He left Sirois and set 
 up house with a new friend, the artist Nicolas Wleughels. On 
 the 3rd September, 1720, he writes to his patron, M. de 
 Julienne, with regard to the “Rendez-Vous de Chasse” in this 
 collection, the canvas of which he finds himself compelled to 
 enlarge on the right side. A little later on, in this same year, he 
 passed over to England, hoping thus to remedy the disordered 
 state of his affairs. The climate of London had, as it would 
 appear, a disastrous effect on his already shattered constitution. 
 Returning some time before the beginning of February, 1721 (see 
 Lady Dilke : “ French Painters of the 18th Century ”), he took 
 up his quarters with his faithful friend, Gersaint. It was then 
 that as a pictorial exercise he painted that incomparably brilliant 
 improvisation, the “ Enseigne de Gersaint,” which is now, in two 
 serrate sections, preserved in the Royal Palace at Berlin. Watteau, 
 becoming more and more restless, left his kind host, and settled 
 down in a lodging at Nogent, near Vincennes, procured for him by 
 the Abbe Haranger, Canon of Saint Germain I’Auxerrois. Here he 
 expired in the arms of his devoted friend, Gersaint, on the 18th July, 
 1721. One of the last pieces upon which he was engaged was a “ Christ 
 on the Cross surrounded by Angels.” His little fortune of 9,000 
 livres was divided among his four dearest friends, M. de Jullienne, 
 I’Abbe Haranger, Benin, and Gersaint. A noble record of the 
 artist’s life-work was published in 1734, by M. de Jullienne, in the 
 shape of a colossal Recueil in two magnificent volumes under the 
 title “L’Oeuvre d’ Antoine Watteau, Peintre du Roi en son 
 
WATTEAU. 
 
 149 
 
 Academie Royale de Peinture et Sculpture. Grave d’apr^s ses 
 tableaux et dessins originaux tires du Cabinet du Roi et des plus 
 curieux de I’Europe. Par les soins de M. de Julienne.” The 
 engravers were Tardieu, B. Audran, C. N. Cochin, Thoraaasin, 
 Thomassin .fils, Laurent Cars, De Larmessin, Le Bas, L4pici4, 
 Aveline, T. M. Liotard, and others. This work contains, in addition 
 to a great series of well-known things, reproductions of a consider- 
 able number of paintings which have either perished, or have 
 hitherto remained unrecognised. Watteau was not only the inventor 
 and the head of the charming school of painters of FHes Galantes 
 and the most exquisite colourist among the French artists of the 
 eighteenth century. He was the true poet-painter whose tempera- 
 ment unconsciously coloured all that he produced, transfiguring 
 by the magic of the imagination the elegant frivolities of his 
 time and country into shadowy dreams of amorous dalliance, 
 the very gaiety of which is tempered by an atmosphere of 
 melancholy and remoteness. The most important collections of 
 his works are to be found in the Museum and the Royal Palace 
 of Berlin, and the Palaces in and near Potsdam ; in the Louvre 
 and the Musee Conde at Chantilly ; in the Wallace Collection ; 
 in the Hermitage at St. Petersburg ; in the Dresden Gallery ; the 
 Prado at Madrid ; the Dulwich Gallery, the National Gallery of 
 Scotland ; and some private collections in France and England. 
 Among these last may be cited those of M. Camille Groult, Baron 
 Alphonse de Rothschild, Baron Edmond de Rothschild, and the 
 Comtesse de Miranda (Madame Christine Nilsson), in Paris ; those 
 of the Earl of Northbrook, Mr. Alfred de Rothschild, Lord Lecon- 
 field, and Mr. J ulius Wernher in London and elsewhere in England. 
 
 No. 377- The Music Lesson (“Pour nous prouver 
 
 que cette belle ”). 
 
 7 in. h. by 9 in. w. 
 
 Engraved by L. Suruguein 1719. 
 
 Gallery XVIII. 
 
 .oi /fj 
 
 S' 
 
 No. 381. Gilles and his Family (“ Sous un habit asAcc' 
 
 de Mezzetin” or “ Le Concert de a. 
 
 Famille”). ’Pa aie V 
 
 lOi in. h. by 8 in. w, ^ ^ ^ e/' 
 
 Engraved by Thomassin fils. A drawing in 
 sanguine for the heads of the two women is 
 in the Print Room of the British Museum 
 (Malcolm Collection). 
 
 No. 387. Harlequin and Columbine. (Voulez- 
 
 vous triompher des Belles”?). „ 
 
 Engraved by Thomassin in 1725 itu u.A. 
 
 1 ft. li in. h. by 13 in. w. ^ ^ 
 
 14283 — rw.c.) ^ , n \ in. 
 
 \JfftAtA iMrU4 
 
 
 

 150 WATTEAU. 
 
 No. 389. The Champs l^lysees (“Les Champs- Gallery XVIII 
 Elisees”). 
 
 1 ft. i in. h. by 1 ft. 4^ in. w. 
 
 Engraved by N. Tardieu. 
 
 No 391. Les Amusements Champetres. 
 
 4 ft. in. h. by 6 ft. 2 in. w. 
 
 Collections of Cardinal Fesch (1845), and 
 Due de Morny (1865), A similar but not 
 identical piece by Watteau has been engraved 
 by B. Audran. 
 
 No, 395. The Fountain (“ La Cascade ”). ,, 
 
 1 ft. in. h. by 1 ft. in. w. 
 
 Engraved by G. Scotin, and etched, on a smaller 
 scale, by Mercier. 
 
 Nc. 410 . The Music Party (“Les Charmes de 
 
 la Tie ”). ^ ^ ^ Citi /yC^ 
 
 Z a in. A. by 3 ft. J in. w. -- ' ^ 
 
 Engraved by P. Aveline. A variation of this ^ /f Jy 
 
 subject by Watteau, with a wholly different ^ 
 
 setting and background, is known as “ Le 
 Concert.” This is in the Sans Souci Palace 
 near Potsdam. 
 
 No. 416 . The Return from the Chase (“ Le 
 
 Rendez-Vous de Chasse ”). jn/ 
 
 'j\ ft. 1 in. h. by 6 ft. If in. w. /2uk«xiA. ^ 
 
 Engraved by Aubert. Painted for Watteau’s A A ^Ht^<ruuy . fe.-uuJk 
 
 thus one of the latest works of the artist. Col- j n y 
 lections of Cardinal Fesch (1845), and Due de 
 Morny (1865). C^JlacoUt. ^ / d^/2 
 
 No. 439 . A Lady at her Toilet (“ La Toilette ”). „ XIX. 
 
 1 ft. 5| in. h. by 1 ft. 2f in. w. 
 
 Another piece of the same type by Watteau is “ La Toilette du 
 Matin” in the collection of the Vicomtesse de Courval, 
 
 j/o,: 
 
WEENIX. 
 
 151 
 
 WEBNZX (Jan Baptist, often, from his mode of signature, 
 called Giovanni Battista Weenix). 
 
 Dutch School. Born at Amsterdam in 1621. Died at Ter Mey, 
 near Utrecht in 1660. Pupil, first of Jan Micker, then of Abraham 
 Blomaert at Utrecht, and of Claes Moeyaert at Amsterdam. He 
 visited Italy, and resided in that country between 1642 and 
 1646, chiefly at Rome. Returning to Amsterdam, he remained 
 there until 1649, after which he fixed his residence definitively at 
 Utrecht and at Ter Mey in its neighbourhood. Jan Baptist Weenix, 
 while dwelling in Italy, studied especially the sea-coast and the 
 people, the result of his observation being the stately scenes, half 
 conventional, half real, of which good examples are to be found 
 in the Wallace Collection. He painted also, in his later years, 
 dead game and fruit and flowers, though the subjects of this 
 class, properly to be ascribed to him, and not to his son, are less 
 numerous than was formerly imagined. An example of this type 
 is No. 1611 in the Ryks-Museum at Amsterdam. A “Poultry 
 Yard among Ruins,” signed by him, is No. 1620 in the Dresden 
 Gallery. In the Episcopal Palace at Wurzburg is a “ Piece with 
 Dead Game ” by Giovanni Battista. An admirable toilet scene from 
 his brush, “ A Lady at her Mirror,” is in the Brussels Gallery. 
 
 No. 117 . Coast Scene with Classic Ruins. Gallery XVII. 
 
 2 ft. 8| in. h. by 3 ft. 6 in. w. 
 
 No. 146 . Coast Scene with Buildings. „ XIV. 
 
 11 in. h. by 9 in. w. 
 
 WEENIX (Jan). 
 
 Dutch School. Born at Amsterdam in 1640 ; died there on the 
 20th September, 1719. Pupil of his father, Jan Baptist Weenix, 
 and fellow pupil of his cousin, Melchior de Hondecoeter. His 
 father died when he was twenty years old, but even then the 
 younger artist had so entirely assimilated his style that his early 
 works are often confused with those of Giovanni Battista. Jau 
 Weenix, though he was domiciled at Amsterdam, was from 1664 
 to 1668 at Utrecht, and from 1702 to 1712 at Bensberg, near 
 Diisseldorf, in the employment of Johann Wilhelm, Elector of the 
 Palatinate. He had not the energy or the dramatic force shown 
 by Melchior de Hondecoeter in the representation of live birds and 
 their habits, but surpassed him in the finish as in the harmony 
 of his decorative arrangements of dead game and still-life. 
 His colour is somewhat less hot than that of the master 
 
152 
 
 WEENIX. 
 
 just named. Jan Weenix preferred, as a rule, to represent dead 
 game and birds, while Hondecoeter was at his best when he 
 depicted the flutter and fury of the poultry yard in moments of 
 exceptional excitement. The Wallace Collection contains an 
 unsurpassed series of works by Jan Weenix. This is only 
 approached by the series of twelve canvases in the Alte Pina- 
 kothek of Munich, which includes, however, his masterpiece the 
 vast game-piece with a striking view, in the background, of the 
 Chateau of Bensberg. 
 
 No. 59 . Flower Piece with Peacoch. 
 5 ft. lOJ in. h. by 5 ft. 5 in. w. 
 
 Gallery XVI. 
 
 No. 62 . White Cockatoo and other Birds. 
 3 ft. Hi in. h. by 3 ft. 7 in. w. 
 
 )) »> 
 
 No. 67 - Red Macaw and other Birds. 
 3 ft. Hi in. h. by 3 ft. 7J in. w. 
 
 • 
 
 No. 87 . Dead Game with Sporting Dog. 
 5 ft. 2i in. h. by 6 ft. 11 in. w. 
 
 
 No. 91 . Dead Game. 
 
 2 ft. 11 in. h. by 3 ft. 3 in. w. 
 
 n )j 
 
 '^o. 98 . Dead Game and Small Birds. 
 4 ft. 5i in. h. by 5 ft. 7i in. w. 
 
 M 11 
 
 No. 102 . Flowers and Fruit. 
 
 4 ft. 1 in. h. by 3 ft. 4f in. w. 
 
 No. 103 . Dead Game. 
 
 4 ft. h. by 3 ft. 5| in. w. 
 
 „ XVII. 
 
 No. 124 :. Dead Swan and Peacoch, 
 6 ft. 8 in. h. by 3 ft. 11 in. w. 
 
 »» 
 
 No. 140 . Dead Peacoch and Game. 
 3 ft. 9i in. li. by 3 ft. 2 in. w. 
 
 11 11 
 
 No. 141 . Dead Hare and Still Life. 
 3 ft. lOf in. h. by 3 ft. 2i in. w. 
 
 V 11 
 
 No. 142 . Dead Game with Sporting Dog. 
 4 ft. 10 in. h. by 4 ft. li in. w. 
 
 7’ 11 
 
153 
 
 WERFF—WESTALL. 
 
 No. 174. Dead Hare and Still Life.jC^h^oUe^ Gallery 
 
 2 ft. 6^ in. h. by 2 ft. 1 in w, O, £0 _ A/ 
 
 J^C~€> CL (5/^^4ru) 
 
 /tie’ 
 
 No. 182. Dead Hare and other Game. 
 
 2 ft. 10^ in. h. by 2 ft. 3^ in. w. 
 
 No. 233. Dead Birds. „ XIII. 
 
 2 ft. h. by 1 ft. 6f in. w. 
 
 WSRFF (Adriaen van der). 
 
 Dutch School. Born at Kralingen, near Rotterdam, on the 
 21st January, 1659. Died at Rotterdam on the 12th November, 
 1722. Pupil of Eglon van der Neer. Van der Werff had his 
 domicile at Rotterdam, but after 1696 was very frequently at 
 Diisseldorf, as Court Painter of Johann Wilhelm, Elector of the 
 Palatinate. This prince conferred on him the honour of knight- 
 hood, and we find the painter, as a consequence, signing himself 
 on occasion “ Chevalier van Werff.” The cold, porcelain-like 
 colour and mechanical finish of this artist in the treatment of the 
 nude are much less appreciated by modern connoisseurs than they 
 were by his contemporaries. Still his general accomplishment 
 and the certainty of his execution, in a vicious and wholly con- 
 ventional style, are not to be denied. Van der Werff enjoyed 
 the greatest success during his life-time ; his works being eagerly 
 sought after and commanding very high prices. The most con- 
 siderable collections of his paintings are in the Alte Pinakothek 
 of Munich and the Dresden Gallery. 
 
 No. 151. Venus and Cupid. Gallery XIV. 
 
 1 ft. in. A. by 1 ft. 1 in. w. fCkAkt.^ . M 'h.oios' _ 
 
 No. 165. Shepherd and Shepherdess. „ „ 
 
 1 ft. 6 in. h, by 1 ft. 3 in. w. 
 
 WESTAX.li (Richard), R.A. 
 
 British School. Born at Hertford in 1765. Died in 1836. 
 Apprenticed first to an heraldic engraver, but afterwards (1786) a 
 student at the Royal Academy. He at one time kept house with 
 Sir Thomas Lawrence, who greatly influenced his art. Westall 
 
154 
 
 WILKIE. 
 
 was elected a Royal Academician in 1794. He painted historical, 
 classical, and imaginative subjects, and illustrated Shakespeare, 
 Milton, and the Bible. 
 
 No. 566. Cymon and Iphigenia. Gallery IX. 
 
 7i in. h. by 10 in. w. 
 
 This painting is the copy on a small scale of a 
 well-known work by Sir Joshua Reynolds, in the 
 picture-gallery at Buckingham Palace. 
 
 No. 757. Venus and Sporting Cupids. „ I. 
 
 llj in. h. by 1 ft. 3 in. w. 
 
 WZIiKZB (Sir David), R.A. 
 
 British School. Born in the parish of Cults, Fifeshire, on the 
 18th November, 1785. Died on board the Oriental steamer, off 
 Gibraltar, on the 1st June, 1841. He was placed in 1799 in the 
 Trustees’ Academy at Edinburgh, where he won the prize for the 
 best painting of “ Calisto in the Bath of Diana.” He came to 
 London in 1805 and became a student at the Royal Academy. 
 His “ Village Politicians,” exhibited there in 1806, attracted 
 general attention. To this earlier time belong some of his most 
 popular genre pictures, such as “The Blind Fiddler,” “Rent Day,” 
 “The Cut Finger.” He was elected an Associate in 1809, and a Royal 
 Academician in 1811. To the period between 1811 and 1825 belong 
 “ Blind Man’s Buff,” “ The Letter of Introduction,” “ Distraining 
 for Rent,” “ The Rabbit on the Wall,” “ The Penny Wedding,” 
 “ The Reading of the Will,” and “ Chelsea Pensioners.” In 1825 
 Wilkie made a tour through France, Germany, Italy, and Spain, 
 and there made a careful study of the old masters, and especially 
 of Correggio, Rembrandt, and Velazquez. He then broadened his 
 style, and treated historical subjects and portraiture in preference 
 to genre, one of his chief works in this second manner being 
 the “ John Knox Preaching,” painted in 1832, and now in the 
 National Gallery. Several life-size full-lengths, in which the 
 effort to obtain breadth and mastery on this scale is pain- 
 fully apparent, are in the collection at Apsley House. 
 Wilkie cannot be said to have added to his fame by this 
 forced development of his art, the result rather of ambition 
 than of true inclination. The peculiarities of his technique, 
 in the later period of his career, have caused an alarming de- 
 terioration in many of his paintings of that period. On the death 
 of Sir Thomas Lawrence in 1830, Wilkie was appointed in his place 
 Painter in -Ordinary to the King, a post which he already filled in 
 Scotland in succession to Sir Henry Raeburn. He was knighted 
 
WINTERHALTER. 
 
 155 
 
 in 1836. In the autumn of 1840 he undertook a tour in the East, 
 going from Constantinople to the Holy Land and Egypt. He 
 expired on board the Oriental steamer, off Gibraltar, and his body 
 was consigned with due honours to the deep. This scene has been 
 commemorated by Turner in a famous picture “ The Burial of 
 Wilkie,” now in the National Gallery. Wilkie’s true province is 
 humorous genre based on the closest and most sympathetic obser- 
 vation of types and manners, and happily preserving the individual 
 in the type. His touch, when he confines himself to the scale 
 best suited to it, combines sharpness and breadth with the highest 
 finish. 
 
 No. 352 . Scotch Lassies Dressing, & ^:^Gallery XV.^ 
 
 m in. h. by 1 ft. 2J in. 
 
 Called by the artist “ A Cottage Toilette Scene 
 from the ‘ Gentle Shepherd.’ ” Painted in 1823 . -y - 
 
 for Sir Robert Liston, ^ ~ ‘ . 
 
 No. 357 . A Sportsman Refreshing, 
 10 in. A. by Ilf in. w. 
 
 Called by the artist “ The Sportsman.” Painted in 1824 for the 
 Hon. General Phipps. - /SJ~^ - ^ 
 
 WZNTEXiHAXiTER (Fran90IS-Xavier). 
 
 German School. Born at Baden-Baden in 1806. Died in 1373. 
 [Je studied at Munich and Rome, and in 1834 established himself 
 in Paris, where he became the Painter-in-Ordinary of Louis- 
 Philippe, and afterwards of Napoleon III. Winterhalter in this 
 development of his style became to all intents and purposes a 
 French painter, and he would, perhaps, be classed more properly 
 as belonging to the French than to the German School. He 
 painted not a few portraits of Her Majesty the Queen, of the 
 late Prince Consort, and other members of the Royal Family. 
 
 No. 669 . A Girl of Frascati. — Water-colour. 
 9 in. h, by 7^ in. w. 
 
 Gallery XXII. 
 
WITTE— WOUWERMAN. 
 
 156 
 
 WITTS (Emanuel de). 
 
 Dutch School. Born, probably at Alkmaar, in 1617. Died at 
 Amsterdam in 1692. Pupil of Evert van Aelst at Delft. He 
 practised hia art at Alkmaar, Rotterdam, Delft, and finally, after 
 1656, at Amsterdam. De Witte is pre-eminent among the Dutch 
 masters of the 17th century as the painter of church interiors 
 peopled by sombre crowds of worshippers, and seen in a luminous 
 half -gloom traversed with bands of bright light. His style in the 
 treatment of these subjects is absolutely opposed to that of the 
 somewhat earlier painters of the Flemish School, Steenwyck the 
 Younger and Pieter Neeffs the Elder, who obtained their chief effects 
 by accuracy of linear perspective, while De Witte realised his 
 by broad and masterly chiaroscuro. In his treatment of colour 
 and light and shade he shows some affinity to Pieter de Hooch. 
 
 No. 254. Interior of a Protestant Church. Gallery XIII. 
 
 1 ft. 11^ in. h. by 1 ft. 5 in. w. 
 
 From the Roell - Hodshon sale at Amsterdam, in 1872, 
 “ Interieur d’une Eglise Protestante.” Price 27,000 gulden. 
 
 WOUWSRXKEAXV (Philips). 
 
 Dutch School. Baptized at Haarlem, on the 24th May, 1619 ; 
 died there on the 19th May, 1668. Pupil of his father, Paulus 
 Joosten Wouwerman, of Frans Hals, Pieter Yerbeeck, and Jan 
 Wynants, perhaps also of Pieter de Laer. Philips Wouwerman 
 practised almost exclusively at Haarlem. His art, which is 
 technically of great subtlety and beauty, shows a curious mixture 
 of delicate realism and close observation of nature on the one 
 hand, of conventionality in the conception and arrangement of his 
 figure-subjects on the other. The relation of these vivacious groups 
 to the scenes which they fill with their restless movement is not 
 always a natural and inevitable one, leading the onlooker un- 
 consciously to accept the compositions as a whole, one and 
 indivisible. Wouwerman excels particularly in rendering skies of 
 tender blue in which heavy white cumuli hang suspended, and 
 undulating hillocks of silver-grey sand tipped with pale light. 
 The Hermitage at St. Petersburg, the Dresden Gallery, the 
 Louvre, the National Gallery, and the Wallace Collection, among 
 other public collections, contain fine groups of Philips Wouwer- 
 man’s works. Among the private collections of England, that 
 of the Duke of Wellington, at Apsley House, is one of the richest 
 in this respect. 
 
 No, 65 . The Horse Fair. Gallery XVI. 
 
 2 ft. 1 in. k. by 2 ft. 10| in, w. 
 
 ) /t/ - ^ 
 
 flcUaK o^e _ (^O.Otw ^ 
 
WYNANTS. 
 
 157 
 
 No. 144. Shoeing a Horse. Gallery XIY. 
 
 1 ft. in. h. by 1 ft. \ in. w. 
 
 No. 187. A Coast Scene with Figures. „ „ 
 
 9^ 'in. h. by 1 ft. 1 in, v) 
 
 No. 193. A Camjj Sce',ie. „ „ 
 
 1 ft. 3 in. h. by 1 ft. in. w. 
 
 No. 216. A Coast Scene with Figures. ,, Xlll. 
 
 1 ft. 3^- in. h. by 1 ft. IJ in. w. 
 
 No. 218. A Stream in Hilly Country. „ ,, 
 
 2 ft. in. h, by 1 ft. 10^ in. w. 
 
 No. 223. Afternoon Landscape, with a White 
 
 Horse. „ „ 
 
 1 ft. 4^ in. h. by 1 ft. 8^ in. w. 
 
 WITNANTS (Jan). 
 
 Dutch School. Born between 1615 and 1620 at Haarlem. Died 
 probably at Amsterdam after 1682. Little is at present known of 
 his life or artistic training. He married in 1660 at Amsterdam, 
 and settled there. The dates on his pictures range from 1641 to 
 1679. Wynants would appear to have exercised considerable 
 infiuence on the contemporary landscape painters whose art had 
 its origin at Haarlem. The figures in his pictures were inserted 
 for him by Philips Wouwermau while he resided at Haarlem, by 
 Adriaen van de Velde and Lingelbach during his life at 
 Amsterdam. 
 
 No. 160. Landscape with Cattle. 
 
 2 ft. ^ in. h. by 2 ft. 11 in., w. 
 
 No. 190. Landscape with a hare Tree. 
 1 ft. 6^ in. k. by 1 ft. lOf in. w. 
 
 No. 249. A Hilly Landscape. 
 
 1 ft. 10 in. h. by 1 ft. in. w. 
 
 14283— (W.C.) 
 
 Gallery XIV. 
 
 j) 
 
 t) 
 
 XIII. 
 
 N 
 
158 ZIEM. 
 
 ZZBXH (Felix). 
 
 French School. Born at Beaune in 1822. Educated at the art 
 school of Dijon. He is chiefly a painter of marine and architec- 
 tural subjects in combination, but more especially of Venice and 
 Constantinople. He revels in gorgeous combinations of blue .waters, 
 gay shipping, and splendid architecture, realising effects of a showy 
 and brilliant if also of a somewhat superficial and scenic character, 
 but failing to approach the greater modern painters — such as 
 Turner and Bonington — who have taken Yenice as their theme. 
 
 No. 366. Venice. Gallery XY. 
 
 3 ft. 2f in. h. by i ft. 10|in. w. 
 
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 By darling & BON, LTD., 34-40, BACON STEEET, E. 
 
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