CORPORATION or LONDON 
 -v ART G/ILL6RY. 
 
 of t«6 LOAN COLLECTION 
 
 OF 
 
 PICTURES 
 
 PRICE SI 
 
CORPORATION OF LONDON 
 
 (xido%M of 
 Boan Coihitxon 
 of {pkiuxt*. 
 
 PREPARED BY A. G. TEMPLE, F.S.A., 
 
 Director of the <Jlrt Gallery of the 
 Corporation of London. 
 
 I. DOUGLASS MATHEWS, Esq., F.R.I.B.A., 
 
 CHAIRMAN. 
 1895. 
 
'Blades, East &• 'Blades, 
 Printers, 
 
 23, lAbchurch Lane, London, E.C. 
 
Committee. 
 
 THE RIGHT HONOURABLE THE LORD MAYOR. 
 JOSEPH DOUGLASS MATHEWS, Esq., F.R.I. B. A., Chairman 
 
 Sir REGINALD HANSON, Bart., M.P., LL.D., Alderman. 
 Sir STUART KNILL, Bart., LL.D., Alderman. 
 Sir GEORGE ROBERT TYLER, Bart. 
 GEORGE FAUDEL PHILLIPS, Esq., Alderman. 
 JAMES THOMSON RITCHIE, Esq., Alderman. 
 WILLIAM PURDIE TRELOAR, Esq., Alderman. 
 JAMES WALLINGER GOODINGE, Esq., F.R.G.S., Deputy. 
 RICHARD OSMOND HEARSON, Esq. 
 EDWARD LEE, Esq. 
 
 JAMES SHEPPARD SCOTT, Esq., Deputy. 
 ALFRED JORDAN HOLLINGTON, Esq., L.C.C 
 FRANCIS MONTIER MERCER, Esq., F.C.S. 
 ROWLAND NEATE PERRIN, Esq. 
 HENRY WILLIAM BROWN, Esq. 
 FREDERICK STANLEY, Esq. 
 JOHN KING FARLOW, Esq. 
 
 WILLIAM THORNBURGH BROWN, Esq., Deputy 
 
 WALTER OWEN CLOUGH, Esq., M.P. 
 
 HENRY HUGH THOMPSON, Esq. 
 
 JOHN FRANKLAND HEPBURN, Esq 
 
 SAMUEL ELLIOTT ATKINS, Esq., Deputy. 
 
 RICHARD IRISH COLLIER, Esq. 
 
 JAMES CALVERT COATES, Esq. 
 
 CHARLES JONES CUTHBERTSON, Esq 
 
 BANISTER FLETCHER, Esq., J.P., F.R.I. B.A. 
 
 WILLIAM COOPER, Esq. 
 
 JOHN BERTRAM, Esq., Deputy. 
 
 WILLIAM HENRY LIVERSIDGE, Esq. 
 
 OCTAVIUS DIXIE DEACON, Esq. 
 
 WHINFIELD HORA, Esq., Deputy. 
 
 CHARLES JOHN TODD, Esq. 
 
 JAMES PERKINS, Esq., F.R.G.S. 
 
 Captain WILLIAM CHARLES SIMMONS, Deputy. 
 
 HOWARD CARLILE MORRIS, Esq. 
 
 JOHN JAMES BADDELEY, Esq. (Past Chairman) 
 
 WILLIAM ROME, Esq., F.S.A., F.L.S. 
 
 A 2 
 
'TpHE permanent Art Gallery of the Corporation of 
 * London, at the Guildhall, was established in 1885, and 
 the first Loan Exhibition was held in 1890. It was visited by 
 109,000 persons. The second was held in 1892, when 234,000 
 visitors were recorded. The third, held in 1894, brought to 
 it upwards of 300,000 visitors, and was open for the first time 
 on Sundays, the average attendance per hour on those days 
 being 641. 
 
/ ~T V HE Library Committee of the Corporation of 
 * London desire to express their thanks to the 
 owners of works of Art for the kindness with which 
 many distinguished and valuable productions have been 
 placed at their disposal for the present Exhibition. 
 
 The Exhibition will be open from Tuesday, the 
 23rd April, to Sunday, the 21st July, inclusive. 
 
 Week Days 10 a.m. to 7 p.m. 
 Sundays 3 p.m. to 7 p.m. 
 
 The Admission will be free. 
 
 A. G. TEMPLE, 
 
 Director, 
 
 ART GALLERY OF THE 
 
 CORPORATION OF LONDON, 
 
 GUILDHALL, LONDON, E.C. 
 iyth Aprils zSgj, 
 
Gallerg I* 
 
 1 PLOUGHING. 
 
 Painted by george clausen, a.r.a. 
 Canvas 47 x 72 inches. 
 Lent by george mcculloch, esq. 
 Exhibited at the Grosvenor Gallery, 1889. 
 Chicago Exhibition, 1893. 
 
 2 PREPARATIONS FOR FIRST 
 COMMUNION. 
 
 Painted by henry woods, r.a. 
 
 Canvas 39^ x 57 inches. 
 
 Lent by Alfred palmer, esq. 
 
 THE priest is questioning the child who stands 
 before him, surrounded by her friends and 
 relations, who listen interestedly to her serious 
 responses. The priest and child occupy the centre ot 
 the picture. To the left a man is seated and a dark 
 handsome woman stands behind him, and to the right 
 two girls are seen freely commenting on what is taking 
 place. A group is by the door of the house, just out- 
 side of which the whole company is assembled. Bright 
 costumes vivify the scene, and the genuine kindly 
 interest in the child is discerned on every face. 
 
 Exhibited at the Royal Academy, 1883. 
 Royal Jubilee Exhibition, Manchester, 1887. 
 
GALLERY I. 
 
 PAST WORK. 
 
 Painted by J. c. hook, r.a. 
 
 Canvas 29 x 50 inches. 
 
 Lent by Humphrey Roberts, esq. 
 
 Exhibited at the Royal Academy, 1886. 
 
 RICHARD II RESIGNING THE 
 CROWN TO BOLINGBROKE. 
 
 Painted by sir JOHN gilbert, r.a., p.r.w.s. 
 Paper on Canvas. Water Colour. 50 x 40 inches. 
 Lent by w. y. baker, esq. 
 
 RICHARD was conveyed by Bolingbroke to London 
 and sent a prisoner to the Tower. " Bolingbroke 
 at first told the King he only intended to assist him in 
 the government of the kingdom ; but as soon as he 
 found him completely in his power, he openly declared 
 his own design upon the Crown, and obliged him to 
 sign a paper containing his resignation. The paper 
 was read and approved by the Parliament. A list of 
 crimes and errors of which the King had been guilty 
 was read and he was then declared formally deposed ; 
 and the Archbishops of Canterbury and York led 
 Bolingbroke to the empty throne." 
 
 Painted 1852. 
 
 Exhibited at the Chicago Exhibition, 1893, 
 
GALLERY I. 
 
 9 
 
 ORLANDO PURSUING THE 
 FATA MORGANA. 
 
 Painted by G. f. watts, r.a. 
 
 Canvas 65 x 47 inches. 
 
 Lent by the Corporation of Leicester. 
 
 FATA MORGANA is the personification of Fortune 
 or Opportunity. She " has a lock of hair on her 
 forehead, by which alone she may be captured ; she 
 leads her captive across rock and stream, dale and 
 desert, flowers and field — for even thus is man's life 
 the plaything of Fortune/' 
 
 Exhibited at the New Gallery, 1889. 
 Presented by the artist to the town of Leicester as a 
 mark of his high regard for Mr. John M. Cook, 
 formerly of Leicester, and especially in recognition of 
 his valuable work in Egypt. 
 
10 
 
 GALLERY I. 
 
 6 ROUGH WEATHER OUTSIDE 
 POOLE. 
 
 7 ACTION AND THE HOUNDS. 
 
 Painted by briton riviere, r.a. 
 
 Canvas 44 x 34 inches. 
 
 Lent by w. clarence watson, esq. 
 
 V CTiEON, son of Aristaeus and Autonoe, a daughter 
 
 of Cadmus, was trained in the art of hunting by 
 the Centaur Cheiron, and, according to some accounts, 
 being in love with Semele, Artemis caused him to be 
 torn in pieces on Mount Cithaeron by his own hounds, 
 to prevent his marrying her. 
 
 Exhibited at the Royal Academy, 1884. 
 
 Painted by henry moore, r.a. 
 
 Canvas 24 x 40 inches. 
 
 Lent by Humphrey Roberts, esq. 
 
GALLERY I. 
 
 II 
 
 8 LA PROMESSA SPOSA. 
 
 Painted by henry woods, r.a. 
 
 Canvas 36^ x 2o£ inches. 
 
 Lent by george gurney, esq., of Eastbourne. 
 
 HREE Venetian girls are together on some semi- 
 
 1 circular stone steps that lead down to one of the 
 canals. One of the girls is showing the others the new 
 ring, which is on her finger, betokening betrothal, which 
 they regard with interest. To the right the course of 
 the canal is seen, spanned at some distance by a bridge. 
 Tall houses, with stone balconies and green lattices, 
 occupy the opposite side. 
 
 The natural attitudes of the girls, their richly colored 
 dresses, the effective position on the steps of the broad 
 piece of drapery, at which the betrothed maiden is 
 working, and the pieces of orange peel lying about, 
 constitute and complete a picture of great charm. 
 
 Painted for the present owner. 
 Exhibited at the Royal Academy, 1890. 
 
 Painted by Charles H. kerr. 
 Canvas 24 x 20 inches. 
 Lent by the Artist. 
 
 IFE-SIZE head of a girl facing the right — head 
 
 falling over slightly to her left ; brown hair, black 
 dress, white collar ; right hand slightly showing. 
 
 Exhibited at the Royal Academy, 1886. 
 
 9 CLAIRE. 
 
GALLERY I. 
 
 THE BIRTH OF A TITAN. 
 
 Painted by w. L. wyllie, a.r.a. 
 Canvas 24 x 40 inches. 
 
 Lent by george gurney, esq., of Eastbourne. 
 
 TOWARDS the right of the picture the huge newly- 
 built ironclad has slid down the slips, and now 
 rests upon the water. Her heavy armaments not being 
 yet on board, she floats high, and her formidable ram 
 is plainly seen. 
 
 Painted for the present owner. 
 Exhibited at the Royal Academy, 1890. 
 
 THE GATE OF THE KHALIF, 
 CAIRO. 
 
 Painted by william logsdail. 
 Canvas 44 x 32^ inches. 
 Lent by H. J. TURNER, ESQ. 
 Painted 1887. 
 
GALLERY 1. 
 
 13 
 
 FORGING THE ANCHOR. 
 
 Painted by stanhope a. forbes, a.r.a. 
 Canvas 84 x 68 inches. 
 Lent by george mc culloch, esq. 
 Exhibited at the Royal Academy, 1892. 
 
 ANSTYS COVE, SOUTH DEVON. 
 
 Painted by henry Zimmerman, r.b.a. 
 Canvas 17^ x 36 inches. 
 Lent by the Artist. 
 
GALLERY I. 
 
 CLAUDE DUVAL. 
 
 Painted by w. p. frith, r.a. 
 Canvas 41^ x 60 inches. 
 Lent by MRS. fielden. 
 
 |T was upon Bagshot Heath that this notorious 
 * highwayman is said upon one occasion to have 
 stopped a coach, and while his companions pillaged 
 the occupants, besought the owner's wife to alight 
 and dance a corranto with him in the road, before 
 the eyes of her husband, offering in return to retain 
 only a fourth part of the booty and suffering his fair 
 partner to ransom the rest by dancing with him. 
 The lady has just descended from the coach, and pallid 
 with fear and indignation, is about to commence her 
 constrained part. One of the subordinate thieves is 
 whistling the tune to which the strange couple dance. 
 
 Exhibited at the Royal Academy, i860. 
 Collection of Mr. W. Grapel until 1873. 
 Collection, anonymous until 1875. 
 
 SCANDAL. 
 
 Painted by G. A. storey, a.r.a. 
 
 Canvas 42 x 56 inches. 
 
 Lent by J. pierpont morgan, esq. 
 
GALLERY I. 
 
 16 EASTWARD HO! AUGUST, 1857. 
 
 Painted by henry o'neil, a.r.a. 
 
 Canvas 54 x 42 inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
 PHE picture shows the huge black side of a 
 
 1 transport vessel bound with troops for India, 
 called there by the mutiny. The wives, sweethearts 
 and friends of the soldiers are bidding farewell as they 
 descend the accommodation ladder for the last time. 
 The centre of the descending group is a heart-broken 
 widowed mother, whose foot is on the last step, and 
 who is gazing with wet eyes on the rough boatman in 
 blue shirt, who is holding out to her his strong hand. 
 Among others in the group should be 1 noted the 
 soldier's wife, in the red chequered shawl ; the little girl 
 in black waving her handkerchief ; the young ensign in 
 red scarf and full regimentals kissing the pretty girl in 
 white muslin ; the stolid boatman smoking with stolid 
 indifference ; the cold insolent lieutenant cursing the 
 whole affair ; and lastly the eager schoolboy faces of 
 the younger soldiers. 
 
 Exhibited at the Royal Academy, 1858, where it 
 made a great impression. 
 
 Henry Nelson O'Neil, A.R.A., was born at St. Petersburg, in 
 18 1 7. In 1833 ne came to England and entered the Royal 
 Academy Schools. The present picture " was painted in 1858 and 
 attracted great attention, and brought him into prominent notice as 
 an artist." It has been engraved, as also its companion picture 
 " Home Again," painted in 1859. He was elected an Associate in 
 i860, and died in 1880. His great picture "The death of 
 Raphael," was exhibited here in 1890. 
 
GALLERY I. 
 
 IN ROSS-SHIRE. 
 
 Painted by H. w. B. davis, r.a. 
 Canvas 46 x 83 inches. 
 Lent by w. y. baker, esq. 
 
 CATTLE and sheep are in the foreground, and to the 
 left is a stream that winds among heather-covered 
 hills toward a broad lake that lies to the right at the 
 foot of the more distant mountains. The rich effect of 
 early evening light suffuses this beautiful scene. 
 
 Exhibited at the Royal Academy, 1882. 
 Painted originally for Mr. Charles Neck. 
 Collection of Mr. Lees until 1884. 
 Engraved by M. Dormoy. 
 
GALLERY I. 
 
 17 
 
 18 FISHERS OF THE NORTH SEA. 
 
 Painted by colin hunter, a.r.a. 
 Canvas 38 x 73 inches. 
 Lent by the Artist. 
 
 Exhibited at the Royal Academy, 1888 - : 
 
 19 WHERE DEEP SEAS MOAN. 
 
 Painted by peter graham, r.a. 
 Canvas 66 x 52 inches. 
 
 Lent by benjamin armitage, esq., of Manchester. 
 
i8 
 
 GALLERY I. 
 
 20 "WIDE, WILD, AND OPEN TO 
 THE AIR." 
 
 Painted by J. w. waterhouse, a.r.a. 
 Canvas 58^- x 36J inches. 
 
 Lent by the Executors of the late Charles e. lees, 
 esq., of Oldham. 
 
 IRCE, a sorceress, lived in the Island of iEaea. 
 
 When Ulysses landed there she turned Ins com- 
 panions into swine. Seated in a golden chair with 
 head thrown back and drapery falling from her right 
 shoulder, both arms uplifted, a cup in her right hand, a 
 wand in her left. A circular mirror is behind her, from 
 the base of which on either side, the swine are seen. 
 
 Painted by William dickson. 
 Canvas 47^ x 72 inches. 
 Lent by the Artist. 
 
 Exhibited at the Royal Academy, 1894. 
 
 21 CIRCE. 
 
 " Who knows not Circe 
 
 The daughter of the Sun, whose charmed cup, 
 Whoever tasted, lost his upright shape 
 And downward fell into a grovelling swine." 
 
 Exhibited at the New Gallery, 1891. 
 
GALLERY I. 
 
 19 
 
 2 JEPHTHAH. 
 
 Painted by sir j. e. millais, bart., r.a. 
 
 Canvas 49 x 63 inches. 
 
 Lent by lord Armstrong, c.b. 
 
 " A ND Jephthah vowed a vow unto the Lord, and 
 said, If Thou shalt without fail deliver the children 
 of Ammon into mine hands, then it shall be, that 
 whatsoever cometh forth of the doors of my house to 
 meet me, when I return in peace . . shall surely be 
 the Lord's, and I will offer it up for a burnt offering. . . 
 And, behold, his daughter came out to meet him 
 and she was his only child • . and he rent his clothes 
 and said, ' Alas, my daughter ! thou has brought me 
 very low . . for I have opened my mouth unto the 
 Lord, and I cannot go back/ " 
 
 Exhibited at the Royal Academy, 1867. 
 
 Exhibition of Millais' works, at the Grosvenor 
 
 Gallery, 1886. 
 
 Collection of Mr. Samuel Mendel (Manley Hall), until 
 1875. 
 
 3 LANDSCAPE. 
 
 Painted by Alexander mann. 
 Canvas 38 x 60 inches. 
 Lent by the Artist. 
 
GALLERY I. 
 
 THE GARDEN OF THE 
 HESPERIDES. 
 
 Painted by sir Frederic leighton ; bart., p.r.a. 
 Canvas, circular, 66 \ inches diameter. 
 Lent by george Mcculloch, esq. 
 
 THE Hesperides were the beautiful guardians of the 
 tree with the golden apples, which Ge had given 
 to Hera at her marriage with Zeus. The poets describe 
 them as possessing the power of sweet song. According 
 to the earliest legends they lived on the river Oceanus, 
 but later accounts have located them in the neighbour- 
 hood of Cyrene, Mount Atlas, or the Islands on the 
 western coast of Libya. In their watch they were 
 assisted by the dragon Ladon, who had been appointed 
 by Juno to watcli in the garden of the Hesperides, and 
 who never slept. 
 
 Exhibited at the Royal Academy, 1S92. 
 Chicago Exhibition, 1893. 
 
 Reproduced by the photo-engraving process, and 
 published by Messrs. Arthur Tooth & Sons, 6, Hay- 
 market, W. 
 
 OSSIANS GRAVE. 
 
 Painted by J. mcwhirter, r.a. 
 Canvas 82 x 58 inches. 
 
 Lent by benjamin armitage, esq., of Manchester. 
 
 M By the stone of Mora I shall fall asleep. The winds whistling 
 in my grey hair shall not awaken me. Depart on thy wings, 
 O wind ! Thou canst not disturb the rest of the Bard." 
 
 Exhibited at the Royal Academy, 1882. 
 
GALLERY I. 
 
 21 
 
 6 ROSALIND AND CELIA. 
 
 Painted by sir j. e. millais, bart., r.a. 
 Canvas 45 x 63 inches. 
 
 Lent by james c. bunten, esq., of Crieff, N.B. 
 
 SCENE: The forest of Arden. — Rosalind in boy's 
 clothes and Celia, dressed as a shepherdess, are 
 seated facing the spectator — Touchstone, the clown, is 
 crouched at the right of the tree. 
 
 Rosalind, O Jupiter ! how weary are my spirits ! 
 Touchstone, I care not for my spirits, if my legs were not 
 weary. 
 
 Rosalind, I could find in my heart to disgrace my man's 
 apparel, and to cry like a woman ; but I must 
 comfort the weaker vessel, as doublet and hose 
 ought to show itself courageous to petticoat : 
 therefore courage, good Aliena. 
 
 Celia, I pray you bear with me ; I can go no further. 
 
 " As you like it," Act II, Scene IV, 
 
 Exhibited at the Royal Academy, 1868. 
 
 Exhibition of Millais' works at the Grosvenor 
 
 Gallery, 1886. 
 
 Collection of A. G. Kurtz, of Liverpool. 
 Engraved in Mezzotint by W. H. Simmons, and 
 published by Messrs. Henry Graves & Co., 6, Pall 
 Mall. 
 
22 
 
 GALLERY I. 
 
 27 AUTUMN. 
 
 Painted by miss E. stewart wood. 
 
 Canvas 40 x 60 inches. 
 
 Lent by george Mcculloch, esq. 
 
 28 AT THE GOLDEN GATE. 
 
 Painted by val c. prinsep, r.a. 
 
 Canvas 53 \ x 37 inches. 
 
 Lent by the Corporation of Manchester. 
 
 I LLUSTRATING the parable of the wise and foolish 
 A Virgins. She has arrived at the gate to find it shut ; 
 those with trimmed lamps have passed through ; on the 
 floor lies her own lamp untrimmed 
 
 Exhibited at the Royal Academy, 1882. 
 
 Presented by \V. A. Turner, Esq., to the Manchester 
 
 Art Gallery. 
 
GALLERY I. 
 
 23 
 
 A LOST CAUSE. FLIGHT OF 
 KING JAMES II AFTER THE 
 BATTLE OF THE BOYNE. 
 
 Painted by A. c. gow, r.a. 
 
 Canvas 46 x 59 inches. 
 
 Lent by henry tate, esq., j.p. 
 
 JAMES II (a.d. 1691), who had looked on at the 
 battle from the neighbouring hill of Dunmore, when 
 he saw his troops give way, without making any effort 
 to retrieve the fortune of the day, turned his horse's 
 head towards Dublin, and fled. In a few days he 
 sailed for France, and there lived for the rest of his 
 days, under the protection of the French King. In the 
 latter part of his life he practised all the austerities of a 
 monk, and died in 1701. 
 
 Exhibited at the Royal Academy, 1888. 
 
 a peaceful valley. 
 
 Painted by Alfred de breanski, r.b.a. 
 Canvas 36 x 66 inches. 
 Lent by graham king, esq., c.c. 
 Exhibited at the Royal Academy, 1884. 
 
GALLERY I. 
 
 SCHOOL REVISITED. 
 
 Painted by G. d. Leslie, r.a. 
 
 Canvas 40 x 74 inches. 
 
 Lent by james houldsworth, esq. 
 
 pO this ladies' school, a girl, still young, has returned 
 
 young girls who are looking at her rings. The posy of 
 roses she has brought, lies on the bench beside her. 
 Two other pupils, one with a hoop, are standing by 
 regarding her with respectful admiration. " English 
 girls by an English painter/' wrote John Ruskin, when 
 he first saw this work at the Academy. " I came upon 
 this picture early, in my first walk through the rooms, 
 and was so delighted with it that it made me like 
 everything else that I saw that morning ; it is 
 altogether exquisite in rendering some of the sweet 
 qualities of English girlhood" 
 
 Exhibited at the Royal Academy, 1875. 
 Royal Jubilee Exhibition, Manchester, 18S7. 
 Engraved by F. Stacpoole, A. R.A. 
 
 « PREMIERE COMMUNION," 
 DIEPPE. 
 
 Painted by P. R. morris, a.r.a. 
 Canvas 72 x 106 inches. 
 Lent by a. hicklin, esq. 
 
 /OUXG girls, on a Sunday morning, in white dresses 
 
 1 and veils, arc on their way in procession to the 
 church, to First Communion. 
 
 Exhibited at the Royal Academy, 1878. 
 Collection of Captain Henry Hill until 1892. 
 
 She is extending her hand to two 
 
GALLERY I. 
 
 25 
 
 FIR FAGGOTS. A HAMPSHIRE 
 LANDSCAPE. 
 
 Painted by david Murray, a.r.a. 
 
 Canvas, 48 x 72 inches. 
 
 Lent by the Corporation of Glasgow. 
 
 Exhibited at the Royal Academy, 1893. 
 
 Purchased for the Corporation Galleries of Art, 
 
 Glasgow, 1893. 
 
 EARLY MORNING IN THE 
 WILDERNESS OF SHUR. 
 
 Painted by Frederick goodall, r.a. 
 
 Canvas 48 x 120 inches. 
 
 Lent by c. t. Harris, esq., c.c. 
 
 AN Arab Sheikh is addressing his tribe on the break- 
 ing up of their encampment at the " Wells of 
 Moses" (Ayoun Moussa), on the eastern shore of the 
 Red Sea. The headland of Djebel Attaka, on the 
 opposite coast, is the point from which, by local tradi- 
 tion, the Israelites are believed to have crossed. 
 
 Exhibited at the Royal Academy, i860. 
 
GALLERY I. 
 
 SAMSON. 
 
 Painted by SOLOMON J. SOLOMON. 
 
 Canvas 95 x 143 inches. 
 
 Lent by the Corporation of Liverpool. 
 
 i ND Delilah said ; "the Philistines be upon thee 
 
 * Samson." 
 
 Exhibited at the Royal Academy, 1887. 
 Purchased and presented to the Walker Art Gallery, 
 Liverpool, as a Jubilee gift, by James Harrison, Esq., 
 1887. 
 
 "OVER THE HILLS AND FAR 
 
 AWAY. 55 
 
 HIS beautiful landscape includes Strath Tay, as 
 
 A seen from near Birnam, in Perthshire, with Ben- 
 y-Glow in the centre distance. In the foreground are 
 rugged boulders and pools of water, reflecting flowering 
 rushes and circled by mosses. Hills rise on either 
 side, and between them is seen the vista of the Strath 
 with the winding river and a long range of distant 
 
 Collection of Mr. Kay Knowles, until 1887. 
 
 Exhibited at the Royal Academy, 1876. 
 
 Exposition Universelle, Paris, 1878, as " Dans les 
 
 Exhibition of Millais' works at the Grosvenor Gallery, 
 1886. 
 
 Etched by B. Debaines. 
 
 Painted by sir j. e. millais, bart., r.a. 
 Canvas 51 x 74 inches. 
 Lent by J. c. williams, esq. 
 
 hills. 
 
 Montagnes d' Ecosse." 
 
GALLERY I 
 
 27 
 
 RIPENING SUNBEAMS. 
 
 Painted by vicat cole, r.a. 
 
 Canvas 56 x 84 inches. 
 
 Lent by lord bRx\ssey, k.c.b. 
 
 " Half- veiled in golden light of shimmering air 
 The landscape stretches wonderously fair, 
 No paling beauty anywhere ; 
 Nature is in her prime. 
 In richest robes the hills and woods appear, 
 The lakes and springs lie motionless and clear 
 Ruled by the fairest Queen of all the year, 
 Beautiful harvest time." 
 
 Exhibited at the Royal Academy, 1879. 
 Royal Jubilee Exhibition, Manchester, 1887. 
 Melbourne Centennial Exhibition, 1888. 
 Chicago Exhibition, 1893. 
 
 Vicat Cole, R.A., was born in 1833, an d at the age of sixteen 
 exhibited at the British Institution, and in 1853 at the Royal 
 Academy. He was elected an Associate of the Royal Academy 
 n 1870, and a Royal Academician in 1880. He died in 1893. 
 
28 
 
 GALLERY I. 
 
 38 SAVED. 
 
 Painted by frank bramley, a.r.a. 
 
 Canvas 59 x 77 inches. 
 
 Lent by Alfred Morrison, esq., f.r.g.s. 
 
 " Oft in a humble home, a golden room is found." 
 
 THE exhausted figure of a lady saved from a 
 wrecked vessel, is seated wrapped in blankets 
 before the welcome fire of a fisherman's cottage. Two 
 women are tending her, one of whom is pouring some 
 tea into a cup. To the right are two children, looking 
 on wonderingly. Beyond them, through the open door, 
 a glimpse of the fisherfolk and of the turbulent sea is 
 seen. The room is suffused with the ruddy glow from 
 the fire. 
 
 Exhibited at the Royal Academy, 1889, 
 
 39 DAPHNIS. 
 
 Painted by Alfred east, r.s. 
 Canvas 60 x 40 inches. 
 Lent by the Artist. 
 
 40 CRABBERS BAIT. 
 
 Painted by c. napier hemy, a.r.w.i. 
 
 Canvas 32 x 48 inches. 
 
 Lent by george Mcculloch, esq. 
 
Gallery II* 
 
 THE DAMSEL OF THE SANG 
 GRAEL. 
 
 Painted by D. G. rossetti. 
 
 Canvas 37 J x 23 J inches. 
 
 Lent by george rae, esq., of Birkenhead. 
 
 PHREE quarter figure, life size, head turned to the 
 
 I left ; abundant auburn hair ; purple cloak, worked 
 in gold, over a crimson robe. In her right hand she 
 holds the sacred cup, while her left is raised in reverence. 
 Above her hovers a dove, a small censer in its beak, 
 and beyond and near at hand appear the leaves of a 
 vine. 
 
 " Anon there came a dove and in her bill a little censer 
 of gold, and therewithal there was such a savour as if 
 all the spicery in the world had been there. So there 
 came a damsel, passing fair and young, and she bare a 
 vessel of gold between her hands." 
 
 (For notice of the Painter's life, see No. tfl.) 
 
GALLERY II. 
 
 MUSIC. 
 
 Painted by sir e. burne jones, bart., r.w.s. 
 
 Canvas 27 x 17 inches. 
 
 Lent by Stephen t. gooden, esq. 
 
 A SEATED figure, myrtle-wreathed, and clad in 
 purple, is holding an open scroll of music from 
 which another standing by, robed in crimson, and play- 
 ing on a stringed instrument, is reading. From the low 
 balcony a rich landscape is seen, with hills, and a castle, 
 the warm evening light suffusing the scene. 
 
 A FARM NEAR DUSSELDORF. 
 
 Painted by A. w. hunt, r.w.s. 
 
 Canvas 14 x 20 inches. 
 
 Lent by w. s. caine, esq., M.r. 
 
GALLERY II. 
 
 31 
 
 THE SCAPEGOAT. 
 
 Painted by w. holman hunt, r.w.s. 
 
 Canvas 34 x 55 inches. 
 
 Lent by w. cuthbert quilter, esq., m.p. 
 
 " And the goat shall bear upon him all their iniquities into a 
 land not inhabited. " — Leviticus xvi, v. 22. 
 
 HE Day of Atonement was the greatest day of the 
 
 A Jewish year. The part of the ceremony which 
 most absorbed the popular attention, consisted in the 
 choice of two young goats by the High Priest for a sin- 
 offering. They were presented before the Lord in the 
 door of the Tabernacle, and he cast lots upon them. 
 Upon one lot was inscribed 'For Jehovah/ on the 
 other ' For Azazel.' The goat on which fell the lot 
 i For Jehovah/ was slain, and its blood sprinkled seven 
 times before the Mercy-Seat. Over the head of the 
 goat ' For Azazel/ the High Priest laid his hands and 
 confessed all the sins of the nation." It was then led 
 away into a land "not inhabited" and there let loose, 
 a strip of red cloth being bound between its horns. 
 This scarlet cloth was said in course of time to turn 
 white, as an indication that the sins of the people 
 were forgiven, and presaging the utterance of Isaiah 
 "Though your sins be as scarlet they shall be as white 
 as snow." 
 
 The idea symbolized, was the complete removal of the 
 nation's sins. The goat was regarded by the people as 
 a vicarious sufferer for their sins which it carried away 
 out of the sight of Jehovah. 
 
 According to the Talmud, everyone who saw the 
 scapegoat threw a stone at it to drive it further into its 
 mystical outlawry. 
 
32 
 
 GALLERY II. 
 
 The region of Usdum, where this picture was painted, 
 is at the southern end of the Dead Sea; a scene so 
 dreary, so uninteresting, and so unhealthy, that it is 
 scarcely ever visited, and it is shunned by the super- 
 stitious Arabs who regard such spots as haunted by the 
 evil spirit. In the foreground is the salt bed of the 
 evaporated sea, "the pale ashes of Gomorrah/' and, in 
 the distance, are the purple mountains of Moab, going 
 towards Petra. 
 
 Exhibited at the Royal Academy, 1856, when the 
 artist was 27 years of age. 
 
 Exhibition of Mr. Holman Hunt's Works at the Fine 
 Art Society's Rooms, Xew Bond Street, 1886. 
 Collection of J. Heugh until 1878. 
 A small finished study of this picture, formerly in 
 the Collection of William Graham, is now in the 
 Collection of Lord Brassey, K.C.B. 
 
GALLERY II. 
 
 33 
 
 ROMEO AND JULIET IN THE 
 VAULT. 
 
 Painted by MRS. w. M. rossettl 
 
 Canvas 24 x 32 inches. 
 
 Lent by william m. hardinge, esq. 
 
 INTO the cold monument the moonlight streams and 
 sees Juliet lying extended on the rich crimson cloth 
 that covers her bier. At her head is the banished 
 Romeo who has broken open the door of the 
 monument, and finding Paris there (to whom Juliet 
 was betrothed), fights with and slays him ; then, 
 draining the phial of poison, dies. 
 
 (i O, true apothecary ! 
 Thy drugs are quick, — Thus, with a kiss I die." 
 
 The flowers that Paris had brought to the monument 
 are strewn about the floor — lilies and poppies — 
 emblems of purity and sleep, and the two swords 
 with which the men have fought, lie beneath the 
 bier. 
 
 THE VOICE OF THE WOODS. 
 
 Painted by louisa starr canziani. 
 Canvas 26 x 18 inches. 
 Lent by the Artist. 
 
 " In tender trouble cooed the wooing dove 
 Amid the wood. In silence and in song 
 The voice of nature, and of nature's need 
 Of longing for the unknown, infinite, 
 The ache of life and of eternal love, 
 Was felt beneath the tremulous sighing leaves 
 Jhe glint of sunlight, and the gloom of Shade." 
 
GALLERY II. 
 
 THE LOVING CUP. 
 
 Painted by d. G. rossetti. 
 
 Panel 26 x 18 inches. 
 
 Lent by T. h. ismay, esq., of Liverpool. 
 
 "Douce nuit et joyeux jour, 
 O chevalier de bel amour." 
 
 SMALL half-length figure of a lady in red drapery, 
 about to drink from a gold cup, the cover of which 
 she holds in her left hand ; diaper background, against 
 which a row of brazen plates is fixed. 
 
 Signed with monogram, and dated 1867. 
 
 Exhibition of Rossetti' s works at the Royal Academy, 
 
 1883. 
 
 Collection of Mr. William Graham, until 1886. 
 Collection of Mr. F. R. Le viand, until 1892. 
 
 Gabriel Charles Dante Rossetti was born in London in 1828. 
 He was the son of Gabriele Rossetti, who was exiled from Italy for 
 his political opinions and came to London. He entered the Schools 
 of the Royal Academy in 1S46, and in 1848 became the prime 
 mover in the famous Pre-Raphaelite revolt. In 1850 he edited 
 " The Germ," a periodical which demonstrated the principles of the 
 brotherhood ; but it was short-lived. Among the works painted 
 according to its principles was the " Ecce Ancilla Domini," now in 
 the National Gallery. For the next ten years his chief productions 
 were a series of water colours inspired by passages in the "Vita 
 Nuova " and the " Divina Commedia." In i860, after a long 
 engagement, he married Elizabeth Eleanor Siddall, a girl of charac- 
 teristic beauty and the model for some of his most famous works. 
 She died in 1S62 from an overdose of laudanum, and on the day 
 of her burial Rossetti placed the manuscript of all his poems, as a last 
 gift, in her coffin. In the autumn of that year he removed to 
 Cheyne Walk, Chelsea, and between that time and 1869 produced 
 some of his finest paintings, achieving a splendour of colour that 
 may be compared with the productions of the great Venetians, and 
 has seldom been surpassed in modern times. In 1869 he was pre- 
 vailed upon to permit the exhumation of his buried manuscripts, and 
 in the following year the first collection of his poems appeared. At 
 this time symptoms of weak health appeared, and he suffered terribly 
 from insomnia. To obtain relief he resorted to chloral, with the 
 customary results. Early in 1S82 he went to Birchington, and on 
 Easter Sunday cf that year he died. 
 
GALLERY II. 
 
 35 
 
 PROSERPINE. 
 
 Painted by D. G. ROSSETTI. 
 
 Canvas 47 x 22\ inches. 
 
 Lent by Charles butler, esq., f.r.g.s. 
 
 LIFE-SIZE figure representing Proserpine in Hades. 
 She is holding in her left hand the bitten pome- 
 granate (emblem of sorrow and pain), by partaking of 
 which she is precluded from returning to earth. 
 As she passes along a gloomy corridor of her palace, a 
 stream of light strikes on the wall from some inlet 
 suddenly opened and admitting for a moment the light 
 of the upper world. She glances furtively towards it, 
 immersed in thought. The incense -burner stands 
 beside her as the attribute of a goddess, and the ivy- 
 branch in the background may be taken as a symbol of 
 clinging memory. 
 
 In 1877, Rossetti, writing to Mr. George Rae, said, 
 "The present one (Proserpine) was begun before Mr, 
 Leyland's of 1873 (now Mr. Graham Robertson's), and 
 thus had the immense advantage of the first inspiration 
 of nature . . . it is the very flower of my work/' 
 
 Signed and dated, Dante Gabriele Rossetti, ritrasse 
 
 nel capo d'anno del 1877. 
 
 Collection of Mr. W. A. Turner. 
 
 Exhibited at the Burlington Fine Arts Club, 1883. 
 
 Royal Jubilee Exhibition, Manchester, 1887. 
 
 ( For notice of the Painter's life, see No, 47.) 
 
 B 2 
 
GALLERY II. 
 
 A TURKISH SCHOOL IN THE 
 VICINITY OF CAIRO. 
 
 HE head of the school, white-bearded and white- 
 
 1 turbaned, is reclining to the right of the picture, 
 an open book before him, and a bamboo stick in his 
 hand. His pupils, in bright oriental garments are 
 clustered to the left, one child in the foreground has 
 fallen asleep. The sun pours into the room, and the 
 shadow of the lattice-work chequers the floor, where 
 pigeons are seen. On a green cushion, against an 
 inlaid box, a cat is lying. 
 
 Exhibited at the Royal Academy, 1865. 
 
 Collection of Mr. C. P. Matthews, until 1892, who 
 
 purchased it from the artist. 
 
 John Frederick Lewis was born in London in 1805. He 
 received his early tuition in Art from his father, who was an 
 engraver and landscape painter. He exhibited at the Royal 
 Academy in 1821, and his first achievements were in animal 
 painting and chiefly in water colour. In 1843 he went to the 
 East and remained there for several years, during which time he 
 executed many of his best works. On his return to England in 
 1851 he resided at Walton-on-Thames. He died in 1876. 
 
 Painted by J. f. lewis, r.a. 
 
 Canvas 26 x 32^ inches. 
 
 Lent by Stephen g. Holland, esq. 
 
GALLERY II. 
 
 37 
 
 BRIGANDS OF THE DESERT. 
 
 Painted by richard friese. 
 
 Canvas 18 x 28 inches. 
 
 Lent by edward t. Baldwin, esq. 
 
 A LION and lioness stealthily creeping over a 
 rocky mountain side, and watching an Arab 
 encampment below. 
 
 bain maure. 
 
 Painted by J. L. gerome, h.R.A. 
 Canvas zo\ x 15^ inches. 
 Lent by H. J. turner, esq. 
 
 XT UDE figure of a girl seated near a bath let into the 
 * ^ floor of a lofty circular apartment. A Nubian 
 slave, habited from the waist in rich dark clothes, is 
 standing by holding a heavy brazen vessel of water. By 
 the door a narghile pipe is seen, and on the stonework, 
 the edge of which the girl's raised hand is touching, 
 richly coloured drapery is arranged. 
 
 Painted in London, in 1870, for the present owner, 
 in the time of the Paris Commune. Finished in 
 Paris, as the painter was unable to obtain a good 
 Nubian model in London. 
 Exhibited at the Vienna Exhibition, 1873. 
 Philadelphia Exhibition, 1876* 
 
GALLERY II. 
 
 EXPECTATION. 
 
 Painted by l. alma tadema, r.a. 
 
 Panel 23 x \2\ inches. 
 
 Lent by sir julian goldsmid, bart., m.p. 
 
 A YOUNG girl in white, is seated in a semi- 
 * circular recess ; her hands shade her eyes as 
 she looks over the blue sea at the small craft, which 
 is approaching from the distant town. 
 
 A MOORISH GARDEN. A DREAM 
 OF GRANADA. 
 
 Painted by sir Frederic leighton, bart, p.r.a. 
 
 Canvas 40^ x 41! inches. 
 
 Lent by sir Joseph pease, bart., m.p. 
 
 IN the foreground is a girl sumptuously clothed, and 
 wearing a large turban. She is passing to the right, 
 by tall dark cypresses and roses full-blown, carrying a 
 copper flagon, and followed by two peacocks, one of 
 them milk-white, with its head thrown back. Water 
 streams down over white marble through a straight 
 leafy alley, on either side of which are arches of 
 creeping plants. A Moorish palace rises beyond, on 
 which white pigeons have alighted. 
 
 Exhibited at the Royal Academy, 1874, 
 
GALLERY II. 
 
 39 
 
 AN EASTERN GIRL. 
 
 Painted by J. L. gerome, h.r.a. 
 
 Canvas 20 \ x 16 inches. 
 
 Lent by george mcculloch, esq. 
 
 A N eastern girl leaning against the stone wall of a 
 portico, her head resting on her upraised arm, her 
 right hand holding a long oriental pipe. Her head is 
 covered with a green veil, and adorned with gold 
 ornaments ; round her neck is a coral necklace with 
 gold coins attached to it — purple bodice, red robe falling 
 to her feet, embroidered shoes, bracelet on right hand, 
 figure turned to the right. Another form is seen passing 
 under an archway ; above is a lattice, through which is 
 seen a clouded sky. 
 
 AN ALBANIAN LADY. 
 
 Painted by J. F. lewis, r.a. 
 
 Canvas 14 x 10 inches. 
 
 Lent by Humphrey Roberts, esq. 
 
 THREE-QUARTER-LENGTH, facing the spectator 
 with her hands crossed before her. White dress 
 edged with black ; green mantle with wide sleeves from 
 which broad white lace hangs; large black and blue 
 turban, with thick blue tassel. She is standing in an open 
 balcony from which a rocky landscape, with buildings, 
 is seen. 
 
 Collection of MR. J. heugh, until 1878. 
 
 ( For notice of the Fainter } s life, see No, qg.) 
 
GALLERY II. 
 
 IN THE DESERT. 
 
 Painted by J. l. gerome, h.r.a. 
 Canvas 24 x 40 inches. 
 Lent by h. J. turner, esq. 
 
 TO the left of the picture a dying horse is lying, and 
 its owner, in a desperate position now, is apparently, 
 from his compassionate gaze, more concerned for the 
 animal than he is for himself. On one side is the bare 
 sterile mountains, on the other the illimitable desert. 
 
 THE COMEDIANS. 
 
 Painted by J. L. GEROME, H.R.A. 
 Canvas 23^ x 18 inches. 
 Lent by sir john tender, K.C.M.G. 
 Signed and dated 1863. 
 
GALLERY II. 
 
 41 
 
 "MY BELOVED IS GONE 
 DOWN INTO HIS GARDEN, TO 
 THE BEDS OF SPICES, TO 
 FEED IN THE GARDENS, AND 
 TO GATHER LILIES." 
 
 Painted by J. M. strudwick. 
 
 Canvas 28 x 15 inches. 
 
 Lent by the earl of wharncliffe. 
 
 FULL length figure, clad in a blue tunic, with a narrow 
 crimson scarf, and wearing a wreath of roses. He 
 is standing at the foot of a stone stairway and carrying 
 the gathered lilies. At the top of the stairway is a 
 figure in pale crimson drapery, stretching out her hands 
 yearningly towards him. Six others are grouped in 
 graceful posture by the parapet to the right, and beyond 
 them dwelling houses and towers are seen among tall 
 poplar trees. 
 
 Exhibited at the Grosvenor Gallery, 1879. 
 
GALLERY II. 
 
 VENUS IN THE HAUNTS OF 
 DIANA. 
 
 IANA, seated near a marble fountain, with a 
 
 ' crescent in her hair, and robed in white, is seen 
 to the left of the picture, surrounded by five of her 
 maidens. The group is in consternation at the appear- 
 ance of Venus, who, draped in crimson and with a 
 white veil, presents herself before them. To the left 
 another figure is seen, holding a slender branch of a 
 tree. A bower of green is behind the group, and to 
 the left a glimpse of a field and distant hills is seen. 
 
 Painted by w. E. FROST, r.a. 
 
 Wood 7 x ii inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
GALLERY II. 
 
 43 
 
 SINDBAD IN THE VALLEY 
 OF DIAMONDS. 
 
 Painted by albert Goodwin, r.w.i. 
 Canvas 36^ x 56^ inches. 
 
 Lent by the Trustees of the Maidstone Museum. 
 
 N his second voyage, Sindbad was left alone upon 
 
 an island, from whence he was carried, by a bird 
 of miraculous size, to a place that was encompassed on 
 all sides by mountains, that were so steep, there was 
 no possibility of getting out of the valley. As he 
 walked through, he perceived that the ground was 
 strewn with diamonds, some of which were of surprising 
 size. He spent the day in walking about the valley, 
 and began to collect together the largest diamonds he 
 could find, and to put them into the leather bag, in 
 which he used to carry his provisions. (Arabian Nights.) 
 
 Exhibition of Goodwin's works, at the Fine Art 
 Society's Galleries, New Bond Street, 1893. 
 
GALLERY II. 
 
 ARIADNE. 
 
 Painted by john la very, r.s.a. 
 
 Canvas 50 x 40 inches. 
 
 Lent by R. strathern, esq., of Edinburgh. 
 
 ARIADNE was a daughter of Minos and Pasiphae. 
 When Theseus was sent by his father to convey 
 the tribute of the Athenians to Minotaurus, Ariadne, 
 in her love for him, provided him with the thread 
 (which she herself had received from Hephaestus), to 
 enable him to find his way out of the Labyrinth. 
 Theseus in return promised to wed her, and she accord- 
 ingly left Crete with him, and they arrived together at 
 the island of Xaxos, in the yEgean Sea. Here, as 
 tradition states, Theseus forsook her, and she was left 
 in loneliness in Xaxos. 
 
 The ancient writers give different accounts of the 
 ultimate fate of Ariadne. The prettiest legend makes 
 her the bride of Dionysus, and he is so enamoured of 
 her beauty that he flings the crown he has given her to 
 the sky, where it remains as a brilliant constellation in 
 her honour. 
 
 11 To her in loneliness and bitter tears 
 
 Bacchus brought love and aid — that she might be 
 
 Bright with unfading stars, he plucked the crown 
 
 From off her brow, and flung it to the skies, 
 
 Through the thin air it flies. 
 
 Sudden the gems are turned to fire ; and fixed 
 
 Remain, and keep the semblance of a crown." ( Ovid.) 
 
GALLERY II. 
 
 45 
 
 62 THE EDGE OF THE 
 JUNGLE. 
 
 Painted by J. M. swan, a.r.a. 
 
 Canvas 11 x 12 inches. 
 
 Lent by Messrs. boussod, valadon and co. 
 
 TO the right of the picture a panther is lying, dense 
 jungle around, and a pool of water to the left. 
 
 63 A BRETON PEASANT GIRL. 
 
 Painted by George clausen, a.r.a. 
 
 Canvas 19 x 11 J inches. 
 
 Lent by henry l. Florence, esq. 
 
4 6 
 
 GALLERY II. 
 
 64 THE PYRRHIC DANCE. 
 
 A MONG the warlike dances of the Greeks particu- 
 * * larly adapted to the Doric character, the Pyrrhic 
 dance was the oldest and most in favour, and dates from 
 mythical times. It was performed by several men in 
 armour, and imitated the movements of attack and 
 defence. The various positions were defined by rule ; 
 hands and arms playing an important part in the mimetic 
 action. It formed the chief feature of the Doric 
 gymnopaidia and of the greater and lesser Panathenaia 
 at Athens. The value attached to it in Athens is proved 
 by the fact of the Athenians making Phrynichso 
 commander-in-chief, owing to the skill displayed by 
 him in the Pyrrhic dance. It is known, too, that both 
 the Emperors, Caligula and Nero, bestowed the right 
 of citizenship upon those Ephebae who danced the 
 Pyrrhic dance with grace and skill, so highly was the 
 performance valued. 
 
 The dancers here are Dorian warriors. Despite their 
 great bronze helmets, shields and corslets, they move 
 easily as if they hardly felt the weight of their accoutre- 
 ments, and, as they pass in the arena, they bow to 
 the notabilities in the amphitheatre. Behind the marble 
 columns to the left a dense mass of spectators is seen. 
 This work created a great impression when it appeared 
 at the Academy. 
 
 Exhibited at the Royal Academy, 1869. 
 
 Exhibition of Alma Tadema's works at the Grosvenor 
 
 Gallery, 1882. 
 
 Purchased from the Artist by the present owner. 
 
 Painted by L. alma tadema, r.a. 
 
 Panel 16 x 32 inches. 
 
 Lent by charles gassiot, esq. 
 
GALLERY II. 
 
 65 MOUNTAIN SOLITUDE. 
 
 Painted by b, w. leader, a.r.a. 
 
 Canvas 16 x 24 inches. 
 
 Lent by myer salaman, esq. 
 
 66 LOVE'S WHISPER. 
 
 Painted by frank dicksee, r.a. 
 Canvas 40 x 59 inches (arched top). 
 Lent by s. g. Holland, esq. 
 
 "In whispers, like the whispers of the leaves 
 That tremble round a nightingale." 
 
 Tennyson. 
 
 Exhibited at the Royal Academy, 1882. 
 Royal Jubilee Exhibition, Manchester, 1887. 
 
48 
 
 GALLERY II. 
 
 67 LANDSCAPE. 
 
 Painted by Thomas creswick, r.a. 
 Canvas 28 x 48 inches. 
 Lent by mrs. nathan. 
 
 A ROCKY wooded valley, down which a stream 
 descends. On rising ground to the right a 
 cottage and water-mill are seen, and in the centre, 
 where the stream broadens, a man with a red cap 
 is standing in the water fishing. In the far distance 
 the mountains rise into the white clouded sky. 
 
 Thomas Creswick, R.A., was born at Sheffield in 1811. He 
 studied drawing at Birmingham, and in 1S2S he exhibited pictures 
 in London at the Academy and at the British Institution. In 1842 
 he was elected an Associate of the Royal Academy, and in 185 1 an 
 Academician. He died in London in 1S69. 
 
GALLERY II. 
 
 49 
 
 68 THE UNWILLING PLAYMATE. 
 
 Painted by G. H. mason, a.r.a. 
 Canvas 18 x 34 J inches. 
 Lent by mrs. wedgwood. 
 
 THREE peasant children are amusing themselves 
 with a donkey, which stands firm against the 
 vigorous pulling of one of the girls. All of them are in 
 frocks and pinafores ; one wears a hood and is drawing 
 some garment on to her shoulders ; another holds her 
 pinafore full of flowers ; all are in graceful positions. 
 The scene is on the edge of a wood, and a cornfield 
 and low hills are visible between the stems of the trees. 
 
 Exhibited at the Royal Jubilee Exhibition, 1887. 
 Etched by Mr. R. W. Macbeth, A.R.A. 
 Published by Mr. R. Dunthorne, Vigo Street, W. 
 
 George Hemming Mason was born at Wetley Abbey, in 
 Worcestershire, in 1818. He studied, by his parents' wish, for the 
 medical profession, but abandoned it, at the age of twenty-six, for 
 Art. He travelled on the Continent with his brother, and eventually 
 settled in Rome for several years, from which place he contributed 
 many pictures to the Exhibitions of London and Paris. While there 
 news of financial disaster at home reached him, and for a time he 
 was thrown entirely on his own resources. In 1857 he returned 
 to England, and thenceforward all his subjects were taken from the 
 neighbourhood of his birthplace, where he partially resided. In 
 1865 he settled in London, and was elected Associate of the Royal 
 Academy in 1868. He died in 1872. 
 
50 
 
 GALLERY II. 
 
 69 MUSHROOM GATHERERS. 
 
 Painted by Frederick walker, a.r.a. 
 Paper, affixed to a Panel, 12 x 20 inches. 
 Lent by somerset beaumont, esq. 
 
 HP HE effect of early dawn is over the scene, and in 
 * the foreground, to the right, a man is stooping as 
 he traverses the field, basket in hand. A little distance 
 away is seen the bended form of a woman, also with a 
 basket, intent on her search for mushrooms. Trees rise 
 on the further edge of the field, and in the dim sky to 
 the right the pale moon is still visible. 
 
 "It was intended to develope it into a composition of more im- 
 portant dimensions, and a large study for the landscape alone 
 was actually found in Walker's studio after his death." 
 
 Claude Phillips. 
 
 Painted 1868. 
 
 Sold at Christie's, 1875, by his Executors, at the sale 
 of no of Walker's sketches. 
 
 Frederick Walker was born at Marylebone in 1S40, and early in 
 life became a student at the Royal Academy. He had already begun 
 to draw on wood, and received employment on the periodicals 
 "Once a Week," " The Cornhill Magazine," and other illustrated 
 publications. In 1S66 he was elected a Member of the Society of 
 Painters in Water Colours, and in 1871 an Associate of the Royal 
 Academy. He died in 1875, at tne eaf ly a S e °f thirty-five, and was 
 buried at Cookham, where his brother artists erected a tablet to his 
 memory. Cookham was in the midst of his favourite sketching 
 haunts. His pictures have great feeling, and any incident he painted 
 was clothed by him with an intensely poetic beauty. He is repre- 
 sented in the National Collection by 1 1 The Vagrants," painted in 
 1868. 
 
GALLERY II. 
 
 51 
 
 THE WITCH. 
 
 Painted by mrs. stanhope forbes. 
 
 Canvas 31 x 36 inches. 
 
 Lent by george Mcculloch, esq. 
 
 PHE peasant child, not without awe, watches the 
 
 1 witch as she disappears into the mysterious depths 
 of the wood ; broad and blossoming herbage occupies 
 the foreground on the right, and two ravens fly athwart 
 the space between the child and the witch. 
 
 Chicago Exhibition, 1893. 
 Paris Salon, 1894. 
 
 EARLY MORNING. VENICE. 
 
 Painted by miss clara montalba, r.w.s. 
 
 Canvas 53 x 30 inches. 
 
 Lent by john aird, esq., m.p. 
 
 <( I saw from out the wave her structures rise, 
 As from the stroke of the enchanter's wand." 
 
 Exhibited at the Royal Academy, 1880. 
 
GALLERY II. 
 
 VOLTAIRE. 
 
 Painted by w. o. orchardson, r.a. 
 Canvas 30 x 44 inches. 
 Lent by lord burton. 
 
 AD. 1725. "The accomplished Due de Sulli is 
 • giving in his hotel a dinner, and a bright witty 
 
 company is assembled The brightest young 
 
 fellow in France is sure to be there, and with his 
 electric coruscations, illuminating everything and keep- 
 ing the table in a roar. To the delight of most, not to 
 that of a certain splenetic ill-given Due de Rohan. . . 
 i Who is this young man who talks so loud then 1 ? 
 exclaims the proud splenetic Due. 1 Monseigneur/ 
 flashes the young man back, ' It is one who does not 
 drag a big name about with him, but secures respect for 
 the name he has.' Figure that in the penetrating, 
 grandly clangorous voice and the momentary flash of 
 eyes that attended it. Due de Rohan rose in a 
 
 sulphurous frame of mind, and went his ways 
 
 About a week after, Voltaire was again dining with the 
 Due de Sulli and a fine company as before. A servant 
 whispers him that somebody has called and wants him 
 below. ... A carnage is in the court and a hackney 
 coach near it ; at the door of the carriage hands seize 
 the collar of him, hold him as in a vice ; diabolic visage 
 of Due de Rohan is visible inside, who utters 'Voila, 
 now then' — Whereupon the hackney coach opens, 
 gives out three hired bullies ; scandalous actuality of 
 horsewhipping descends on the back of poor Voltaire 
 who shrieks and execrates, but to no purpose, nobody 
 being near. . . With torn frills and deranged hair he 
 rushes upstairs again in such a mood as is easy to fancy. 
 
GALLERY II. 
 
 53 
 
 Everybody is sorry, inconsolable, everybody shocked ; 
 nobody volunteers to help in avenging. ' Monseigneur 
 de Sulli, is not such atrocity done to one of your guests 
 an insult to yourself ' ? asks Voltaire. ' Well, 3^es, 
 perhaps, but 7 — Monseigneur de Sulli shrugs his shoulders 
 and proposes nothing. Voltaire withdrew of course in 
 a most blazing condition, to consider what he could, on 
 his own strength do in this conjuncture/ 7 — Carlyle's 
 History of Frederick the Great, Book X, Chapter II. 
 The larger version of this picture was exhibited at the 
 Royal Academy in 1883, No. 271, and purchased by 
 Mr. George Schwabe who presented it to the Museum 
 at Hamburg, with other distinguished examples of the 
 British School. 
 
 EVANGELINE. 
 
 Painted by Leonard wyburd. 
 Canvas 18 x 14 inches. 
 
 Lent by ALDERMAN SIR JAMES CLARKE LAWRENCE, 
 BART. 
 
 LIFE-SIZED head, fair hair — face turned to the left, 
 white cap, brown dress with white frill at the 
 neck, grey background. 
 
 Painted 1890. 
 
54 
 
 GALLERY II. 
 
 75 THE CATAPULT. 
 
 Painted by E. J. poynter, r.a. 
 
 Canvas 61 x 72 inches. 
 
 Lent by sir Joseph w. pease, bart., m.p. 
 
 THE catapult or tormentum, was used in ancient 
 warfare to shoot heavy bolts and other large 
 projectiles, some of which were ingot-shaped and 
 sharpened at both ends. These in Greece, were often 
 inscribed with a word in Greek which signified " receive 
 this," as may be seen from several leaden specimens 
 which have been found in making excavations. 
 
 Exhibited at the Royal Academy, 1868. 
 Paris Exhibition, 1878. 
 
 76 OTTER HOUNDS. 
 
 Painted by sir edwin landseer, r.a. 
 Canvas 23^ x 60 inches. 
 Lent by lord burton. 
 
 Purchased direct from the Artist by Mr. Jacob Bell. 
 
 Collection of Mrs. Spencer Bell. 
 
 Exhibition of Landseer's works at Burlington House, 
 
 1874. 
 
 (For notice oj the Painter s lifc t sec No. 77.) 
 
GALLERY II. 
 
 55 
 
 THE SWANNERY INVADED 
 BY SEA EAGLES. 
 
 ROM the hills that overlook the ocean, the fierce 
 
 * brown birds have descended upon these swans' 
 nests. With beak and claw they assail them at a 
 terrible advantage. But the swans fight well and 
 deliver heavy blows with their wings. Some of the 
 swans are seen in the air above the nests, but the 
 eagles are there also, to destroy the last of those 
 who foolishly built near the eyries of the robbers. 
 This picture was begun many years before its final 
 completion. It is the largest that Landseer painted, 
 and it was the last work he exhibited. 
 
 Exhibited at the Royal Academy, 1869. 
 Collection of the Marquis of Northampton. 
 
 Sir Edwin Landseer was born in London in 1802. He was the 
 youngest son of John Landseer, the well-known engraver. His 
 father taught him, and is said to have sent the boy at an early age 
 into the fields to sketch from nature any animals he came across. 
 Some drawings in South Kensington Museum were executed by him 
 when five years old. His first exhibited picture was painted when 
 thirteen years of age. Three years later he entered the schools of 
 the Royal Academy. In 1826 he became an Associate, and a few 
 years after an Academician. His pictures are universally known, 
 and he is 4 6 the unrivalled painter of animal life." In 1850 he 
 received the honour of knighthood. He died at his house in St. 
 John's Wood in 1873, and was interred in St. Paul's Cathedral. 
 
 Painted by sir edwin landseer, r.a. 
 Canvas 70 x 108 inches. 
 Lent by lord masham. 
 
GALLERY II. 
 
 A COUNTRY LANE. 
 
 Painted by JOHN crome. 
 Canvas 74 x 36 inches. 
 Lent by lord hillingdon. 
 
 John Crome was born in a small public-house in Norwich, 1769. 
 He started in life as an errand boy to a physician in that town, but 
 soon gave it up, and apprenticed himself to a house and sign painter. 
 He is said to have been the first who practiced graining in imitation 
 of the natural marks in wood. About this time he formed an 
 intimate friendship with Ladbrooke, and the two youths spent all 
 their spare time in drawing, studying chiefly from Nature. In 1803, 
 in conjunction with several young artists and amateurs, he founded 
 "The Norwich Society of Artists," whose first exhibition was held 
 in 1805, when twenty-three of the works were contributed by Crome, 
 and in 1810 he was elected President of the Society. He died, after 
 only a few days' illness, 1S21. 
 
GALLERY II. 
 
 57 
 
 "LA GLORIA," A SPANISH 
 WAKE. 
 
 Painted by john phillip, r.a. 
 
 Canvas 56^ x 85^ inches. 
 
 Lent by sir john pender, k.c.m.g. 
 
 IN a letter to Sir John Pender asking that this picture 
 might be lent for the Paris International Exhibition, 
 1867, Phillip wrote "that, in his estimation, this would 
 be the picture on which his reputation, in the future, 
 would rest." 
 
 Commenced in Seville, i860. 
 Exhibited at the Royal Academy, 1864. 
 International Exhibition, Paris, 1867. 
 Royal Jubilee Exhibition, Manchester, 1887. 
 Engraved by T. O. Barlow, R.A. 
 
 John Phillip was born at Aberdeen in 1817 ; he was of humble 
 parentage, and very early in life showed a capacity for Art. When 
 about seventeen he came to London as a stowaway in a coasting 
 vessel, visited the National Gallery, and the Royal Academy, and 
 returned in a few days to Aberdeen. By the kindness of friends he 
 was enabled to become a student at the Royal Academy, and his 
 pictures of Scottish life soon attracted attention. In 1851 he went 
 to Seville for the restoration of his health ; and from that time 
 resided mostly in Spain on account of his delicate constitution, paying 
 annual visits to his native town of Aberdeen. In Spain he produced 
 many brilliant works, most of which were exhibited at the Royal 
 Academy. He was elected Associate of the Royal Academy in 
 1857, and Royal Academician in 1859. In the Spring of 1866 he 
 went on a visit to Rome, but failing health compelled him to return 
 to London, where he died in 1867. 
 
GALLERY II. 
 
 AN APPROACHING STORM. 
 
 Painted by George morland. 
 Canvas 36 x 56 inches. 
 Lent by lord hillingdon. 
 
 George Morland, the son of H. R. Morland. a portrait 
 painter and engraver, was born in 1763, and many stories are 
 told of the boy's early precocity. His father gave him a good 
 education, but was a severe man, and turned to his own advan- 
 tage the talents of his son. At the end of his apprenticeship he 
 left his father's house, and took a lodging on his own account, 
 but falling into idle and dissolute habits, he became the prey of 
 his landlord, a picture dealer. Being freed at last, he went to 
 Margate, where he painted miniatures for a time, and afterwards 
 to France. Returning to London in 17S5 he married the sister 
 of William Ward, the engraver, but he seems never to have 
 been free of pressing difficulties, and continually changed his 
 abode. Many of his best works were painted in the King's 
 Bench prison, but in spite of all that has been said of his 
 dissipations he produced a number of good works during his 
 short term of life. He died at the age of forty-two in 1S04. 
 As a painter of domestic and animal life he attained to great 
 popularity during his lifetime, and large sums were given for his 
 pictures, and his best work is still highly esteemed. 
 
GALLERY II. 
 
 59 
 
 THE FIRST DIP. 
 
 Painted by c. van haanen. 
 Canvas 37-^ x 22\ inches. 
 Lent by h. J. turner, esq. 
 
 A CHILD, followed by a j^outh, is standing in the 
 shallow water of the canal, at the foot of some 
 stone steps ; just out of reach of the water, a girl stands, 
 who holds the child by a rope. In the richly shadowed 
 recess beyond are two other children and a girl, all in 
 the picturesque Venetian costume. 
 
 WILLIAM TELL. 
 
 Painted by w. s. burton. 
 Canvas 25 x 14 inches. 
 
 Lent by the marquis of dufferin and ava, 
 
 G.C.B., K.P. 
 
 FACT AND FANCY. 
 
 Painted by sir noel paton, r.s.a. 
 Canvas 22 x 29 inches. 
 
 Lent by james cowan, esq., of Edinburgh, M.P. 
 Painted in 1865, 
 
6o 
 
 GALLERY II. 
 
 84 AQUA BENDITA. 
 
 Painted by john phillip, r.a. 
 Canvas 38 x 31 inches. 
 Lent by lord burton. 
 
 ( For notice of the painter's life, see No. 79. ) 
 
 85 NAUSICAA. 
 
 Painted by sir Frederic leighton, bart., p.r.a. 
 
 Canvas 60 x 25 inches. 
 
 Lent by colonel h. d. davies, Alderman. 
 
 1 1 Phaeacians, was playing at ball, when Odysseus, 
 who had been cast naked on the island, appeared to her. 
 She was dismayed at the moment, but subsequently 
 fell in love with him. 
 
 Collection of A. G. Kurtz, of Liverpool. 
 Exhibited at the Royal Academy, 1878. 
 
 daughter of Alcinous, King of the 
 
GALLERY II. 
 
 6l 
 
 86 THE DEATH OF CHATTERTON. 
 
 Painted by henry wallis, r.w.s. 
 
 Canvas 24^ x 36^ inches. 
 
 Lent by CHARLES G. clement, esq. 
 
 THOMAS CHATTERTON, the poet, was born in 
 1752, of humble origin. He was a native of 
 Bristol, and was educated at a charity school. His first 
 poetical production was written at the age of ten. " He 
 had been gloomy from the time he began to learn, but 
 he became cheerful when he began to write poetry." 
 He left school in his fifteenth year and was bound 
 apprentice to an attorney, and the greater part of the 
 poetical works of " the proud and lonely boy " were 
 composed in his hours of leisure at that time. In his 
 seventeenth year he left Bristol to try his fortune in 
 London. Here the vicissitudes of literary life awaited 
 him. He lodged for nine weeks at a house in Shore- 
 ditch — his golden visions being still " the baseless fabric 
 of a dream." His finances became contracted, and the 
 liberality of booksellers proved a delusion. He removed 
 to Brook Street, Holborn, being friendless, lone and 
 unassisted. In his deep distress he proudly and angrily 
 refused to be "kept alive" by the bread of charity. 
 On the 24th August, 1770, he resolved to close his life 
 of misery and privation. On the following day his 
 room was broken open ; the body lay lifeless and the 
 floor was covered with a multitude of fragments of paper, 
 an evidence that he had destroyed all his unfinished 
 productions. He died the victim of despair and want 
 at the age of seventeen years and nine months. 
 
 Exhibited at the Royal Academy, 1856. 
 
62 
 
 GALLERY II. 
 
 International Exhibition, London, 1862, 
 
 Paris International Exhibition, 1867, 
 
 Collection of Mr. A. L. Egg, R.A., until 1863. 
 
 Collection of Mr. Grapel, until 1869. 
 
 Engraved by T. O. Barlow, R.A., published by R. 
 
 Turner, of Newcastle-on-Tyne. 
 
 This picture is bequeathed to the National Gallery by 
 
 its present owner. 
 
 87 THE SILKEN GOWN. 
 
 Painted by thomas faed, r.a. 
 
 Canvas 37^ x 30 inches. 
 
 Lent by henry tate, esq., j.p. 
 
 " And ye shall walk in silk attire, and siller ha'e to spare . 
 Gin ye'll consent to be his bride, nor think of Donald mair," 
 " Oh ! who wad buy a silken gown, wi' a poor broken heart ? 
 Or what's to me a siller crown, gin frae my love I part ? 
 
 Exhibited in the Royal Academy, 1863. 
 Royal Jubilee Exhibition, Manchester, 1887. 
 Collection of Mr. C. F. H. Bolchow (Marton Hall 
 Collection), until 1888. 
 
GALLERY II. 
 
 63 
 
 88 DOLLY VARDEN. 
 
 Painted by w. p. frith, r.a. 
 Wood 24 x 20 inches. 
 Lent by lord burton. 
 
 DOLLY VARDEN is represented at the moment of 
 her casting a coquettish look back, over her left 
 shoulder, at Joe Willett, as she passes on her way 
 through the wood. 
 
 There are six pictures of Dolly Varden, by Mr. Frith. 
 The first was painted in 1842 and is known among 
 artists as "The Dolly with the Bracelet/' Mr. Frith 
 received £iS for it, and it was sold at Christie's, at the 
 Gillott sale, in 1872, for .£735. It is now in America. 
 The second represented Dolly leaning, laughing, against 
 a tree ; it was painted immediately after the " Bracelet" 
 picture, and was shown at an Exhibition in Birmingham, 
 where it was purchased by a picture dealer. 
 The third was a replica of the foregoing, and was 
 executed for Frank Stone, R.A. It was given by 
 Stone to John Forster, the biographer of Charles 
 Dickens, and is now in South Kensington Museum. 
 The fourth, also a replica of the second, was painted for 
 Thomas Creswick, R.A. 
 
 The fifth was likewise a replica of the second, and was 
 painted for a Mr. Phillips. 
 
 The sixth is the one here exhibited. Charles Dickens 
 chanced to see the one which was painted for Frank 
 Stone, and immediately commissioned Mr. Frith to 
 paint two pictures, — one to be a " Dolly Varden." His 
 criticism of it was that it was " exactly what he meant." 
 He paid Mr. Frith .£20 for it. It was sold at Christie's 
 
GALLERY II. 
 
 in 1871, to Mr. Thomas Walker, of Berkswell Hall, 
 Warwickshire, for .£1,050, at whose sale in 1888 it 
 passed to its present owner. It was painted in 1843 
 and is considered to be by far the best of the Dolly 
 Vardens. 
 
 MAROONED. 
 
 Painted by E. J. GREGORY, A.R.A. 
 Canvas 16^ x 22 \ inches. 
 Lent by c. J. galloway, esq., of Knutsford. 
 Exhibited in the Royal Academy, 1887. 
 
 THREE GENERATIONS. 
 
 Painted by R. T. minshull. 
 
 Canvas 14 x i8| inches. 
 
 Lent by w. s. caine, esq., m.p. 
 
GALLERY II. 
 
 65 
 
 PORTRAIT OF SIR WALTER 
 SCOTT. 
 
 Painted by sir J. watson Gordon, r.a. 
 
 Panel 9 x 6\ inches. 
 
 Lent by george shaw, esq., c.c. 
 
 John Watson, the eldest son of Captain James Watson, R.N., 
 was born in Edinburgh in 1790. He first turned his attention to 
 historical painting, but before long devoted himself to portraiture. 
 On the death of Raeburn, in 1823, he became the chief portrait 
 painter in Scotland, when he assumed the name of Gordon. He 
 had a considerable share in the foundation of the Royal Scottish 
 Academy, of which he was one of the earliest members, and became 
 President of it in 1850 ; at the same time being knighted and 
 appointed Queen's Limner for Scotland. His works were frequently 
 exhibited in London, where he was elected Associate of the Royal 
 Academy in 1841, and an Academician in 1 85 1. He died at 
 Edinburgh in 1864. 
 
 WICKED EYES. 
 
 Painted by w. p. frith, r.a. 
 Canvas, oval, 14 x 12 inches. 
 Lent by MRS. nathan. 
 
Gallery 
 
 THE HON. MRS. 
 YORKE. 
 
 CHARLES 
 
 Painted by sir joshua Reynolds. 
 Canvas 36^ x 28^ inches. 
 
 Lent by captain the hon. j. manners yorke, r.n. 
 PHE Hon. Mrs. Charles Yorke, nee Agneta Johnstone, 
 
 1 was the eldest daughter and co-heiress of Henry 
 Johnstone, Esq., of Great Berkhampstead, Herts. Blue 
 dress, ermine ion shoulders, seated in a red-covered chair, 
 facing the spectator, and playing the guitar. 
 
 Sir Joshua Reynolds was born in 1723, and educated at Plymptoti 
 St. Mary, Plymouth. He came to London at the age of eighteen 
 as a pupil of Hudson, and remained with this Master less than two 
 years. Returning home, he painted many portraits at low prices 
 (seventy shillings). In 1749 he sailed with Commodore Keppel to 
 the Mediterranean, and reaching Rome stayed there for two years, 
 directing his studies chiefly to Michael Angelo's works in the Sistine 
 Chapel. Working there during bad weather he caught cold and 
 became deaf, and was compelled thereafter to use an ear-trumpet. 
 He returned to London in 1752, and settling soon after in St. 
 Martin's Lane, quickly rose in reputation. In 1753 he painted the 
 portrait of Commodore Keppel, which laid the foundation of his 
 fortune. He painted many heads at this time at twelve guineas 
 each. Henceforward his progress was very rapid, and among his 
 sitters were many of the famous men and women of his time. In 
 1768 he was knighted, and became first President of the Royal 
 Academy. From this time he worked with almost uninterrupted 
 assiduity and success, producing many hundreds of pictures. He 
 died February 23rd, 1792. 
 
GALLERY III. 
 
 6 7 
 
 LANDSCAPE. SNOW SCENE. 
 
 N the right are some houses and two wind-mills. 
 
 An open space is in the foreground, with several 
 people passing across it. In the distance a river is 
 discerned, with a boat and more people. The whole 
 landscape is snow-covered. 
 
 (For notice of the Painter's life, see No, 112,) 
 
 LANDSCAPE, RIVER SCENE 
 AND RUINS. 
 
 WO large towers, with other buildings at their base, 
 
 A are on the right of the picture on the bank of a 
 river, along which in the distance, a boat is seen. In the 
 foreground to the right, are two more boats, and men 
 engaged in their daily work. The horizon is low, giving 
 scope for a broad expanse of sky, which is heavily 
 clouded. 
 
 Jan van Goyen was born at Leyden in 1596, and studied under 
 various masters of little note. "While still young he made a tour 
 through France, and on his return home received some instruc- 
 tion from Essias van de Velde. He was one of the earliest Dutch 
 landscape painters, and his works are marked by great truth and 
 observance of nature, and the drawing is admirable. His daughter 
 married Jan Steen. He died at the Hague in 1666. 
 
 Painted by jacob van ruisdael. 
 
 Canvas 15 J x 17 inches. 
 
 Lent by sir francis cook, bart. 
 
 Painted by jan van goyen. 
 
 Panel 14 x 12 inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
68 
 
 GALLERY III. 
 
 96 EARLY MORNING. 
 
 Painted by A. van der neer. 
 
 Canvas 31 J x 25^ inches, 
 
 Lent by martin h. colnaghi, esq. 
 
 (For notice of the painter's life, see No. 138. ) 
 
 97 LADY BEAUCHAMP. 
 
 Painted by sir joshua Reynolds, p.r.a. 
 Canvas 36 x 28 inches. 
 
 Lent by captain the hon. j. manners yorke, r.n. 
 
 LADY Beauchamp, nee Letitia Johnstone, second 
 daughter and co-heiress of Henry Johnstone, of 
 Great Berkhampstead, Herts, and sister of Mrs. Charles 
 Yorke, 
 
 Three-quarter-length, standing facing the spectator with 
 hands crossed before her. White embroidered dress, 
 open at neck, red feather fan in her right hand. 
 Painted 1781. 
 
 {For notice of the Painter's life, see No. 93.) 
 
GALLERY III. 
 
 6 9 
 
 98 LANDSCAPE AND FROZEN 
 RIVER. 
 
 Painted by Nicholas berghem. 
 
 Panel 19x15 inches. 
 
 Lent by sir francis cook, bart. 
 
 A BROWN stone bridge spans a frozen river, and 
 abuts on the left against some large buildings. In 
 the foreground on the right two horses are seen at a 
 trough, and men are standing near them in conversa- 
 tion. Towards the centre are two children with a sledge, 
 followed by two dogs, and on the left three figures 
 are seen. Many other figures animate the scene ; 
 and a building on fire is visible in the distance to the 
 left. 
 
 Collection of Lockhorst, at Rotterdam. 
 Collection of Mr. Kinnear, of Edinburgh. 
 Smith's Catalogue Raisonne, No. 244. 
 
 ( For notice of the Painter's life, see No. 106.) 
 
7o 
 
 GALLERY III. 
 
 99 STILL LIFE. 
 
 Painted by J. davidsz de heem. 
 
 Wood io| x 8 inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
 ON a table from which a green cloth is draped, four 
 plums and a bunch of black grapes with an 
 opened oyster are arranged with great taste before a 
 glass half-filled with wine. This small work is painted 
 with exquisite finish, combined with artistic breadth 
 characteristic of this artist. 
 
 National Exhibition, Leeds, 1868. 
 
 Jan Davidsz De Heem was born at Utrecht about the year 1600, 
 and is said to have died at Antwerp in 1674. He was the pupil of his 
 father, the flower painter, and was the first master who developed 
 the art of fruit painting and still life generally. He is thought by 
 some to be " the greatest Master of the class the School produced." 
 His works are held in much estimation, but there are few examples 
 in England. He is believed to have died at Antwerp in 1674. 
 
 100 TOBIT. 
 
 Painted by rembrandt van rhyn. 
 
 Panel 17 x 2 inches. 
 
 Lent by sir francis cook, bart. 
 
 (For notice of the Painter's life, see No. 134.^ 
 
GALLERY III. 
 
 A LARGE metal flagon and salver stand on a table 
 draped with heavy cloth. Other things are 
 cleverly grouped together — a bowl of fruit, a cut 
 melon, a lobster, &c., &c. 
 
 Jan Anton van der Bayren (or Baren) lived in the middle of the 
 seventeenth century. He was employed by the Archduke Leopold 
 William at Brussels, and in 1656, went with him to Vienna. In the 
 Vienna gallery are two pictures by him, female portraits, surrounded 
 with flowers. He succeeded David Teniers, as curator of the Arch- 
 duke's collections of pictures. 
 
 102 FROZEN RIVER SCENE. 
 
 SEVERAL persons are seen passing along on the ice ; 
 and some are playing Hockey ; a glimpse of either 
 bank is seen, and in the foreground to the left is a fallen 
 leafless tree. Heavy grey clouds overhang the scene. 
 
 Painted by J an van der cappelle. 
 
 Panel 16 x i6-|- inches. 
 
 Lent by sir francis cook, bart. 
 
 y ( For notice of the Painters life, see No. 
 
72 
 
 GALLERY III. 
 
 103 STILL LIFE. 
 
 Painted by J. davidsz de heem. 
 
 Wood 10J x 8 inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
 WHITE grapes and a peach are skilfully arranged 
 in front of a half-filled glass of white wine, on 
 a table partially covered with a green cloth fringed with 
 gold. To the left are two prawns and to the right is 
 seen a gold ring with a ruby in it. 
 
 Signed and dated, " Utrecht, 1649." 
 Formerly in the Scarisbrick collection. 
 Collection of Mr. Henry Harvey. 
 National Exhibition, Leeds, 1868. 
 
 (For notice of the rainier life, see No. gg.) 
 
GALLERY III. 
 
 73 
 
 104 A SEA-PIECE. 
 
 Painted by philips wouwerman. 
 
 Panel y\ x 9^ inches. 
 
 Lent by sir francis cook, bart. 
 
 A GREY agitated sea and cloudy sky. Three vessels 
 are visible. The spray breaks over a rock on 
 the right. 
 
 " This singular little picture of the master is an admirable study 
 from nature." Smith, 
 
 Collection Anonymous until 1778. 
 Collection of baron denons until 1826. 
 Collection of MR. w. wells (of Redleaf). 
 Collection of mr. william collins, r.a. 
 Smith's Catalogue Raisonne, No. 150. 
 
 Philips Wouwerman was born at Haarlem, 1619. He was first 
 taught by his father, and subsequently studied landscape painting 
 under Jan Wynants, but Jan Both and Pieter van Laer are supposed 
 to have influenced him. Pie entered the Guild of Painters at Haarlem 
 in 1640, and served the office of Dean in 1645-6. He died at 
 Haarlem, 1668. 
 
74 
 
 GALLERY III. 
 
 105 THE EXCHANGE AT 
 AMSTERDAM. 
 
 Painted by job berkheyden. 
 
 Panel 9^ x 7^ inches. 
 
 Lent by sir francis cook, bart. 
 
 Job Berkheyden was born at Haarlem in 1630. When a young 
 man he adopted Art as a profession, and in 1654, joined the Guild 
 of St. Luke. He travelled in Germany with his brother Gerrit, and 
 painted landscapes and views of the Rhine, being also employed by 
 the Elector Palatine, for whom he executed several paintings, and 
 received from him, in recognition of his services, a gold chain and 
 medal. On his return to Holland he soon became distinguished and 
 was much appreciated. He died at Haarlem in 1693. 
 
GALLERY III. 
 
 75 
 
 1 06 THE APPROACHING STORM. 
 
 Painted by Nicholas berghem. 
 
 Canvas 36^ x 35 inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
 HEAVY clouds are passing over a wooded and 
 mountainous country. In the foreground are two 
 women ; one of them in a blue skirt, is seated on a mule, 
 the other in a red skirt, is milking a goat. Near them 
 are a herdsman leaning on a cow, a man with a staff, 
 an ass kicking at a dog, and another dog which 
 appears to be running after a cow. More to the left 
 are a braying ass, a sheep and a goat — and a river is 
 seen on which are two boats, one of them laden 
 with hay. The heavily foliaged group of trees are 
 being boisterously blown by the wind. 
 
 Formerly in the possession of Lady Palmeston, and 
 known as " The Palmeston Berghem." 
 Smith's Catalogue Raisonne, No. 54. 
 
 Nicholas Berghem (or Berchem), was born at Haarlem in 162a 
 He was taught by his father and other artists, and married the 
 daughter of the painter Jan Vils. He is said to have visited Italy, 
 and at one time in his life sold his labour, from early morning until 
 four in the afternoon, for ten florins a day. His wife allowed him to 
 keep little of his earnings, as his practice was to spend it all in buy- 
 ing pictures. His father's name was Pieter Claaz, and several 
 reasons are given to account for his signature of Berchem, by some 
 thought to have been a nickname, but as he used it on all his pictures 
 it may be considered as a surname. His landscapes are very beauti- 
 ful, adorned with groups of figures, cattle, and sometimes ruins. 
 His contemporary and rival was Jan Both. A burgomaster of 
 Dordrecht, a patron of Art, engaged Both and Berchem to each 
 paint a picture, and the one whose painting was considered best was 
 to have a sum of money over and above the remuneration paid to 
 each artist. When their work was finished, the burgomaster did 
 not know which picture to prefer, but told them they had both 
 reached perfection in their Art, and that both were entitled to the, 
 prize. Berchem died at Amsterdam in 1683. 
 
7 6 
 
 GALLERY III. 
 
 107 A WOMAN AT A SPINNING 
 WHEEL. 
 
 Painted by gerard terburg. 
 
 Panel 13 J x 10 \ inches. 
 
 Lent by sir francis cook, bart. 
 
 A N old lady in a black jacket edged with ermine, 
 grey gown and green apron, is sitting in a red- 
 cushioned chair, working at a spinning wheel. A small 
 dog is in her lap. 
 
 Gerard Terburg was born about 1617. He was taught drawing 
 by his father at Zwolle. In 1632 he was at Amsterdam, and after- 
 wards studied at Haarlem under the elder Pieter Molyn. In 1635 
 he visited England, travelling then through France, Italy, and 
 Germany. In 1646 he repaired to Minister, where the memorable 
 Congress was then sitting. And it was there he painted the 
 marvellous little picture ofi the" " Ratification of the Treaty of 
 Peace," now in the National Gallery. In I648 he visited Spain, 
 and acquainted himself with the works of Velasquez. In 1654 he 
 married, and settled in Deventer, where he became Burgomaster, 
 and where he painted the greater number of his pictures of social 
 life. Hediedi68i. 
 
GALLERY III. 
 
 77 
 
 8 AN OLD WOMAN. 
 
 Painted by gerard dow. 
 
 Panel 8£ x 6\ inches. 
 
 Lent by sir francis cook, bart. 
 
 AN old woman in a black gown, white cap, frill, and 
 kerchief, almost full face, but turning slightly to 
 the left, one hand visible, dark back-ground. 
 
 Gerard Dow, one of the most celebrated of the Dutch genre 
 painters, was born at Leyden in 1613. His father was a glass 
 painter, and Gerard was at first taught by him. At the age of 
 fifteen he entered the school of Rembrandt, who did not set his 
 pupils their tasks in his own atelier, but penned each of them in a 
 box of his own in a top storey of the house, partitioned expressly 
 for the purpose. Here the young and promising artists successively 
 received instruction from their teacher ; here the models might be 
 seen wandering from box to box ; here the same subject was 
 represented, painted in the master's form, but with the individuality 
 of the pupil. In three years Gerard had attained the position of an 
 independent artist. He reaped ample fruits from his great reputa- 
 tion. An amateur of the name of Spiering paid him a thousand 
 florins annually for the mere privilege of having the first offer of 
 his pictures. He died at Leyden, 1675. Among his pupils were 
 the eminent painters Franz van Mieris and Gabriel Metsu. 
 
7 8 
 
 GALLERY III. 
 
 109 PORTRAIT OF A CHILD 
 HOLDING AN APPLE. 
 
 HE child stands to the left of the picture. Black 
 
 * cap with yellow ribbons ; white cape with 
 embroidered edging ; white apron ; brown brocaded 
 silk frock with white markings. In her left hand is an 
 apple, on her right a goldfinch. Low horizon, with red 
 brick house to the right, a wide gate beside it and a line 
 of trees. 
 
 Signed and dated "iEtatis 2, anno 1664/' 
 Collection of Mr. J. Corley. 
 National Exhibition, Leeds, 1868. 
 
 Cesar van Everdingen was born at Alkmaar in 1606, and was a 
 pupil of Jan van Bronkhorst. His pictures are portraits and historical 
 scenes, and he was also an architect. In 1632 he was a member of 
 the Guild at Alkmaar, and in 165 1 of that of Haarlem. He died 
 in 1679. 
 
 Painted by cesar van everdingen. 
 
 Canvas 39 x 32^ inches. 
 
 Lent by william harvey, esq. 
 
GALLERY III. 
 
 no A STORM AT SEA, 
 
 Painted by william van de velde. 
 
 Canvas 13 x 20 inches. 
 
 Lent by charles butler, esq., f.r.g.s. 
 
 William van de Velde was born at Amsterdam in 1633. He is 
 the most celebrated of the Dutch marine painters, and studied with 
 his father and also under Simon de Vlieger. From the year 1677 
 both he and his father were established in England, where they lived 
 at Greenwich. Charles II granted them each a salary of £100 a 
 year for painting sea-fights, the father furnishing the drawings and 
 the son " putting the said draughts into colours." Walpole, in his 
 "Anecdotes of Painting " says, " William van de Velde, the son, was 
 the greatest man that has appeared in this branch of painting, the 
 palm is not less disputed with Raphael for history, than with Van de 
 Velde for sea-pieces." He died in London in 1707, and was buried 
 in St. James's Church, Piccadilly. His drawings are very numerous, 
 and his execution was so rapid that it is said he would frequently fill 
 a quire of paper in an evening with his drawings. "There are 
 abundance of fine works by this master in England, many of the best 
 are in the National Gallery." It is no wonder that his pictures are 
 popular here, they are so calculated to please a seafaring nation, and 
 nearly all his works are in England and Holland, very few being in 
 other countries. 
 
8o 
 
 GALLERY III. 
 
 in THE SLEEPING SOLDIER. 
 
 Painted by gerard terburg. 
 
 Canvas 25^ x 2o| inches. 
 
 Lent by william harvey, esq. 
 
 A STOUT military officer, wearing a cuirass over a 
 buff jerkin, is seated with folded arms, fast 
 asleep ; at his right stands a woman in a maroon- 
 colored velvet jacket, bordered with ermine, amusing 
 herself by tickling his lips with a hair, the effects of 
 which appear to amuse a trumpeter who stands on her 
 right, dressed in the rich costume of the period, and 
 holding a trumpet. 
 
 Collection of Mr. Brown until 1830. 
 Collection of Lord Myddleton. 
 Collection of Mr. Henry Harvey. 
 National Exhibition, Leeds, 1868. 
 Smith's Catalogue, Raisonne, No. 43. 
 
 (For notice of the Painter's life, see No. 107.) 
 
GALLERY III. 
 
 112 VIEW OF HAARLEM. 
 
 Painted by J. van ruisdael. 
 
 Canvas i6£ x 13 J inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
 THE spire of Haarlem Cathedral rises in mid-distance, 
 in a low flat country. Heavy clouds are passing 
 across the blue sky, and a vivid gleam of light lies on 
 the meadow to the right. In the foreground, which is 
 in deep shadow, a river is discerned, on w T hich is a boat, 
 and on either side the ruins of a building are seen, 
 around which trees cluster. 
 
 National Exhibition, Leeds, 1868. 
 
 Jacob van Ruisdael was the nephew of the painter Solomon van 
 Ruisdael, and was born at Haarlem about 1625. His father, Isaac, 
 gave him a good education and intended him for the medical pro- 
 fession, and he was sometimes styled Doctor. He probably studied 
 under his uncle, but it is clear he was powerfully influenced by 
 Allaert van Everdingen. He removed to Amsterdam in 1659, and 
 the same year obtained the rights of citizenship there. He remained 
 unmarried in order to promote the comfort ot his aged father, but 
 in spite of his activity his talents were not appreciated by his con- 
 temporaries as they deserved to be. In 1681 his fellow religionists 
 obtained from the Burgomaster of Haarlem a place in the almshouse 
 of Haarlem for him, by payment of a certain sum. He died there 
 soon after, and was buried May 14, 1682. The landscapes of 
 Ruisdael are generally simple natural views, well selected, his 
 favourite subjects being woody scenes and waterfalls, though he 
 sometimes painted marine pieces. (The artistic importance of his 
 work lies in the conception, and in the solemn earnestness of the 
 prevailing tone, founded upon a deep and continual observance of 
 Nature.) 
 
82 
 
 GALLERY III. 
 
 113 A CAVALIER. 
 
 Painted by albert cuyp. 
 
 Canvas 48I x 33^ inches. 
 
 Lent by lord Crawford and balcarres. 
 
 THREE quarter length, life size, standing, and turned 
 slightly to the right ; broad brimmed hat, with 
 large feathers ; steel corslet ; blue sash ; leather gauntlets ; 
 walking stick in right hand. 
 
 Albert Cuyp was born at Dort, his father's native town, 1620, 
 He became the pupil of his father, but further particulars of his 
 early life are wanting, but it is probable he visited other parts of 
 Holland before commencing practice on his own account at Dort. 
 " He was many-sided in his Art, but ever taking nature as his guide 
 and model escaped all repioach to mannerism. His temperament 
 led him to seek calm and sunny scenes, and his extraordinary 
 mastery in rendering light and the effects of hazy morning or of 
 glowing afternoon has become proverbial." He met with but 
 limited recognition in his day, and Holland is not particularly rich 
 in his works. The portraits he painted are good in character, 
 and as little conventional as his other work. He died at Dort, 1691. 
 
 114 COAST SCENE. 
 
 Painted by William van de velde. 
 
 Panel 9^ x 12 inches. 
 
 Lent by sir francis cook, bart. 
 
 TWO sailing boats and one rowing boat are drawn 
 up on the sea-shore, and fishermen are about — 
 delicately painted grey clouds on a pale blue sky. 
 
 ( For notice of the Painter's life, see No. no.) 
 
GALLERY III. 
 
 83 
 
 5 A YOUNG WOMAN WITH A 
 GLASS OF WINE. 
 
 PRETTY young woman, in light grey jacket, grey 
 
 * * petticoat, and bluish apron, is seated with a glass 
 of wine in her hand. She is listening to the gallantry 
 of an elderly peasant whose wife is watching their 
 movements from an opening above. Upon the door 
 of the opening is a little owl with a very serious 
 expression. 
 
 44 A little gem, ... the colours are combined with the utmost 
 delicacy. The execution is of very solid impasto and of rare 
 finish. " Waagen. 
 
 Collection of Mr. Edward Gray. 
 Collection of Lord Overstone. 
 
 David Teniers was born at Antwerp, 1610. He studied under 
 his father, David Teniers, the elder, whose style he adopted, but the 
 influence of Rubens and of Adriaen Brouwer is perceptible in his 
 pictures. He was admitted a Master into the Antwerp Guild of 
 Painters in 1632-3. He was twice married, his first wife being 
 Anna Brueghal, daughter of the painter Jan Brueghal In 1648 he 
 settled in Brussels, and became Court Painter and one of the 
 Chamberlains of the Archduke Leopold. He bought himself a 
 country seat at Perck, a village between Antwerp and Mechling, 
 which became the constant resort of the Spanish and Flemish 
 nobility, and it was there he died on 25th April, 1690. (His 
 colouring is very delicate, his handling of the brush light and 
 spirited, and he is reputed to be the greatest genre painter of all 
 times.) 
 
 Painted by david teniers, the Younger. 
 
 Wood 12 x 9 inches. 
 
 Lent by lord wantage, k.c.b., v.c. 
 
8 4 
 
 GALLERY III. 
 
 116 A PORTRAIT. 
 
 Copper 6| x 5 inches. 
 
 Lent by banister fletcher, esq., c.c, j.p. 
 
 117 INTERIOR OF A CHURCH IN 
 HOLLAND. 
 
 Painted by anton de lorme. Figures by J. 
 
 LINGELBACH. 
 
 Canvas 34^ x 29 inches. 
 Lent by e. A. leatham, esq., j.p. 
 
 BETWEEN the stately pillars several people are 
 moving about in the quaint costume of the time. 
 To the right the sun enters the tall windows, flecking 
 the walls and pillars with great truth of effect. 
 
 Collection of Lord Northwick. 
 
 Anton De Lorme, who was born at Rotterdam in the 17th 
 Century and was still living in 1660, was an architectural painter 
 who devoted himself to the interiors of churches and other public 
 edifices, in some of which Terburg painted the figures. His works 
 are very rare, and exact for perspective and illumination. 
 
 Jan or Johannes Lingelbach was born at Frankfort-on-the 
 Main, in 1625. Like many of the Dutch masters he visited Italy, 
 and remained for six years in Rome. He was very successful in his 
 drawing of numerous figures, all busily engaged, and gaily dressed, 
 according to their different nationalities, and was also fond of 
 architectural compositions. His pictures are embellished with 
 fountains, archways, ancient monuments and statues, and the scenes 
 depicted are seaports, fairs, and Italian markets. So great was his 
 fame* as a painter of animated groups of men, women, horses and 
 dogs, often on a very minute scale, that other eminent artists as 
 Wynants, Wouwerman and Ruisdael sought his help in inserting 
 figures and horses into their paintings. He died at Amsterdam in 
 1687. 
 
GALLERY III. 
 
 85 
 
 18 SEA-PIECE. MAN-OF-WAR 
 FIRING A GUN. 
 
 Painted by jan van der cappelle. 
 
 Wood 19 x 23 inches. 
 
 Lent by lord wantage, k.c.b., v.c. 
 
 \ QUIET sea with coast on the left hand and in 
 
 the foreground. In the centre are some small 
 vessels ; and on the right is a man-of-war firing a gun ; 
 in the distance other vessels are seen. The clouds 
 are brightly lighted on the left. 
 
 <e This picture is in all respects of such delicacy and transparency 
 and at the same time so picturesquely composed and carefully 
 finished that it belongs to the best works known to me of the 
 master. ' ' Waagen. 
 
 Collection of Lord Overstone. 
 
 Jan van der Cappelle was born at Amsterdam about 1630, and 
 received the freedom of that city on the occasion of his marriage in 
 1653. He was a painter of river and sea scenes, his favourite subject 
 being a quiet sea/' under the aspect of cheerful weather and warm 
 lighting, so that objects are clearly reflected in the water." Of his 
 life little is known, as he is not commented upon by any Dutch 
 writer of the period. He was painting until the year 1680. 
 
GALLERY III. 
 
 9 PORTRAIT OF THE ARTIST. 
 
 Painted by JAN steen. 
 Panel 22 x 16 J inches. 
 
 Lent by the earl of northbrook, g.c.s.i. 
 
 PORTRAIT of the Artist when about forty-five 
 
 * * years of age. He is represented sitting in a room 
 on a rush-bottomed chair with his right leg on the left 
 knee, playing on a mandolin, which he appears to 
 accompany with the voice ; and the drollery of his song 
 is unequivocally indicated in the exquisite humour which 
 animates his countenance. He is dressed in a brown 
 jacket with yellow sleeves, green slashed hose, dark 
 red cap ; a mantle hangs on the back of his chair. To 
 his left on a covered table are music books and a silver 
 tankard, and a large green curtain is suspended behind 
 him. 
 
 " A most spirited representation of a thorough rake, though a 
 very clever one ; of masterly execution, in delicate broken 
 tones." Waagen. 
 
 Collection of M. Brentaud, of Amsterdam, until 1822. 
 Collection of Baron Verstolk de Soelen, at the Hague. 
 Collection of the Hon. G. J. Vernon until 1830. 
 Engraved by C. W. Marr, as a frontispiece for Vol. IV, 
 of Smith's Catalogue Raisonne. 
 Smith's Catalogue Raisonne, No. 121. 
 
 Jan Steen was the son of a brewer, and was born at Leyden about 
 1626. He studied at the Hague with Jan van Goyen, whose 
 daughter he married there in 1649. He entered the Corporation of 
 Painters at Leyden in 1648, but he was absent from that city for 
 
GALLERY III. 
 
 87 
 
 several years, returning to it in 1658. He then combined the 
 business of a tavern-keeper with the occupation of painting. He has 
 been justly likened, for dramatic expression, to Moliere. (He drew 
 human nature from the humorous side, often with grim satire, 
 though not without touches of pathos, which show deep sympathy 
 with his kind. If he is sometimes unnecessarily coarse, some 
 allowance must be made for his period and his surroundings. The 
 character of his figures is typical and subtly true, his execution crisp 
 and brilliant, and his colour varied and uncommon. In composition 
 he has never been excelled, and he contrived to give to the most 
 skilful arrangement the effect of accidental combinations. ) 
 
 120 LANDSCAPE AND CATTLE. 
 
 Painted by Nicholas berghem. 
 Panel 10 x i2| inches. 
 Lent by captain holford. 
 
 ( For notice of the painter's life, see No. 106.) 
 
88 
 
 GALLERY III. 
 
 121 THE INTRUDER. 
 
 Painted by Gabriel metsu. 
 
 Panel 26^ x 23^ inches. 
 
 Lent by the earl of northbrook, g.c.s.i. 
 
 * with gilt leather, in which are two ladies, a maid- 
 servant and a cavalier. One of the ladies, wearing a 
 green velvet jacket bordered with ermine, is seated on 
 the right arranging her hair, and her attention is excited 
 by the eager endeavours of the gentleman to enter the 
 apartment and the maid-servant preventing him. The 
 other lady stands by the side of a bed and is only partly 
 dressed, having on a white satin skirt and a red corset 
 and sleeves ; her countenance expresses displeasure at 
 the rudeness of the intruder. A rich robe of scarlet 
 velvet, bordered with ermine, lies on an antique chair 
 in front, near which is a silver vase. 
 
 "This picture may with propriety be styled a chef-d'oeuvre of 
 the master." Smith, 
 
 Collection of Colonel Way. 
 
 Collection of Baron Verstolk de Soelen at the Hague. 
 Collection of the Hon. G. J. Vernon until 1831. 
 Collection of Sir Charles Bagot until 1836. 
 Smith's Catalogue Raisonne, No. 94. 
 
 HE scene is the interior of a bed-chamber, hung 
 
 (For notice of the Pai?ttei-'s life, see No, 125. ) 
 
GALLERY III. 
 
 8 9 
 
 122 PREPARING FOR A DUET. 
 
 Painted by Gabriel metsu. 
 
 Canvas 17 x 15 inches. 
 
 Lent by william harvey, esq. 
 
 \ LADY in a scarlet corset and orange petticoat, 
 
 is sitting at a table covered with a rich Turkey 
 cloth. She holds a piece of music, and appears to be 
 waiting to accompany with the voice a gentleman who 
 stands on the further side of the table, tuning a violin. 
 A bass viol lies on the table, which is placed near a 
 large window hung with green curtains. A spaniel 
 stands by the lady. 
 
 Collection of the Due de Choiseul until 1772. 
 Collection of the Due de Plaslin until 1793. 
 Collection of M. Solirene until 18 12. 
 Collection of Prince Talleyrand until 18 17. 
 Engraved in the Choiseul Gallety, 1771. 
 Exhibited at the British Gallery, 1823. 
 National Exhibition, Leeds, 1868. 
 Smith's Catalogue, Raisonne, No. 31. 
 
 (For notice of the Painters life, see No. 125. ) 
 
90 
 
 GALLERY III. 
 
 123 PORTRAIT OF A LAWYER. 
 
 Painted by petier c. van slingelandt. 
 
 Wood 2o\ x 16^ inches. 
 
 Lent by e. A. leatham, esq., j.p. 
 
 AN OLD man seated in an arm-chair — facing the 
 right. He is clothed in black, and wears a black 
 cap with a red band to it. His right hand is on the arm 
 of the chair — his left hand is on his breast. 
 
 National Exhibition, Leeds, 1868. 
 
 Petier C. van Slingelandt, was born at Leyden, in 1640. The 
 pupil of Gerard Dow, he kept to the method of his master, and his 
 pictures have manifested in them great finish and care. He is said 
 to have taken so long a time as three years painting a family portrait 
 group, and would spend a month over finishing some small detail in 
 a picture. He died in 1691. 
 
 124 PORTRAIT OF A LADY. 
 
 Painted by jan anthonisz van ravesteijn. 
 
 Panel 46^ x 34! inches. 
 
 Lent by william rome, esq., f.s.a., c.c. 
 
 BLACK and gold dress, with lace cap and cuffs, 
 large white ruff, and pearl necklace. 
 
 Dated 1628. 
 
 Jan Anthonisz van Ravesteijn was born at The Hague about 
 the year 1572. He was a pupil of Frans Hals and executed 
 some important portraits. In 1 598 he was admitted into the 
 Guild of St. Luke, at The Hague. All his life was spent in his 
 native city, and he died there in 1657. 
 
GALLERY III. 
 
 125 THE VIOLONCELLO PLAYER. 
 
 Painted by Gabriel metsu. 
 
 Canvas 25 x i8| inches. 
 
 Lent by her majesty the queen. 
 
 A GENTLEMAN is seated near a harpsichord, 
 tuning a Violoncello, his attention is directed at 
 the same time to a lady, attired in a white satin skirt 
 and pale red bodice, who is descending some stairs on 
 his left, with a piece of music in her hand, and preceded 
 by a pet spaniel. Another gentleman is seen leaning 
 on the arched window of a corridor above. 
 
 " An admirable picture of the middle period of this master; of 
 a warm tone, great harmony, and, for him, remarkably delicate 
 execution. " Waagen, 
 
 Collection of M. Wierman, of Amsterdam, until 1762. 
 Collection of the Marquis Menars until 1781. 
 Collection of M. Robit until 1801. 
 Exhibited at the British Gallery, 1826 and 1827. 
 Smith's Catalogue Raisonne, No. 45. 
 
 Gabriel Metsu was born at Leyden, 1630. His first teacher in 
 Art was probably his father, but he afterwards studied under Gerard 
 Dow, though in his style he more resembled Terburg, for his pictures 
 deal, as a rule, with the more refined side of domestic life. At the 
 age of twenty he left Leyden and settled in Amsterdam, where he 
 probably spent the rest of his life. He died and was buried there 
 in 1667. 
 
92 
 
 GALLERY III. 
 
 126 A LANDSCAPE WITH CATTLE. 
 
 Painted by willem van romeyn. 
 
 Panel 13^ x 17^ inches. 
 
 Lent by charles butler, esq., f.r.g.s. 
 
 Willem van Romeyn was born at Haarlem, in 1624. He was 
 a pupil of Berghem. His pictures were generally small, well com- 
 posed and of harmonious color. He is represented in all the 
 principal galleries of Europe, but his works are frequently attributed 
 to Berghem, Karel du Jardin, or Adrian Van de Velde. He died 
 in his native town, 1693. 
 
 127 THE MUSIC MASTER, AND 
 PUPIL. 
 
 Painted by jan van der meer (of Delft). 
 
 Canvas 29 x 25 inches. 
 
 Lent by her majesty the queen. 
 
 INTERIOR of a room, with a floor composed of black 
 and white marble squares. A lady is standing with 
 her back to the spectator at an open harpsichord which 
 is placed against the opposite wall. She wears a red 
 skirt with a black over-dress, and white bodice. Her 
 face is reflected in the mirror that hangs over the 
 harpsichord. A gentleman is standing by wearing a 
 black coat and white sash. The foreground to the 
 right is occupied by a table, with a rich cover ; beside 
 it is a blue covered chair and a viol which lies on the 
 floor. The room is lighted by leaded windows, from 
 the left. 
 
 Jan van der Meer, as he is commonly called, or more correctly 
 Vermeer, a scholar and imitator of Metsu, was born at Delft about 
 1632 ; he is supposed to have been the pupil of Karel Fabritius, and 
 
GALLERY III. 
 
 93 
 
 also of Leonard Bramer. In 1653 he married, and he died at Delft 
 in 1675. During his life he was one of the principal members of 
 the Delft Guild. In 1696 many of his pictures were sold at 
 Amsterdam. His subjects were portraits, landscapes, interiors, 
 and views of towns. His pictures were rare and of great value. 
 
 128 THE BANKER. 
 
 Painted by Arnold van boonen. 
 
 Canvas 17 x 14 inches. 
 
 Lent by E. a. leatham, esq., j.p. 
 
 A MAN in a brown garment and wearing a furred 
 cap is seated at a table, to the right of the 
 picture. He is engaged in carefully weighing the gold 
 and silver coins that lie before him. Red drapery is 
 skilfully disposed to the left of the picture and a dark 
 blue curtain is dexterously arranged above the seated 
 figure. 
 
 Arnold van Boonen was born at Dordrecht in 1669, and was 
 instructed by Arnold Verbius and Godefreid Schalken ; he devoted 
 himself almost wholly to portrait painting, and painted a number of 
 the tamous men and women of his time, among whom were Peter 
 the Great, and the great Duke of Marlborough. He died in 1729. 
 
 129 A LANDSCAPE. 
 
 Painted by rembrandt van rhyn. 
 
 Panel 8^ x 18 inches. 
 
 Lent by h. c. erhardt, esq., f.r.g.s. 
 
 (For notice of the painter's life, see No. 134. ) 
 
94 
 
 GALLERY III. 
 
 130 FROZEN RIVER SCENE. 
 
 Painted by a. van der neer. 
 
 Canvas 23 x 33 inches. 
 
 Lent by martin h. colnaghi, esq. 
 
 NUMEROUS figures are on the iee skating ; several 
 groups are on the bank in the foreground, among 
 them, a man about to hit a ball with a club ; near some 
 eel baskets, a man and woman are seated at the edge 
 of the ice ; cloudy sky. 
 
 Signed " A.V. (connected) & D.N." (connected). 
 
 (For notice of the painter's life, see No. 138.^ 
 
 131 PORTRAIT OF A LADY 
 SURROUNDED WITH 
 FLOWERS. 
 
 Painted by daniel seghers. 
 Canvas 39 x 29 inches. 
 Lent by col. j. l. rutley. 
 
 Daniel Seghers (or Zeghers) was born at Antwerp in 1590. 
 His taste led him to flowers and fruit, and he became a pupil of 
 Jan Brueghel, who, at that time, painted those subjects. He was 
 the friend of Rubens, for whom he painted garlands and borders of 
 flowers around portraits. He died at his native city in 1661. 
 
GALLERY III. 
 
 95 
 
 132 THE MOUTH OF THE 
 SCHELDT. 
 
 Painted by jan van de cappelle. 
 
 Wood 25 x 17^ inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
 IN the foreground, in the centre of the picture, is 
 a large boat, with sail up and flag flying from the 
 stern and one also from the mast. A little way out a 
 fisherman is standing in the water. In the mid-distance 
 is a low-lying island, and to right and left many craft are 
 seen. Grey clouds float across the tenderly painted sky 
 and the picture throughout contains the characteristically 
 aerial effects so engaging in this master. 
 
 (For notice of the Painter' 's life, see No, 118.) 
 
 ULL face, black robe, broad white lappet or collar, 
 
 A black skull cap, thin gray beard and gray hair. 
 Dark background. 
 
 National Exhibition, Leeds, 1868. 
 
 Nicolas Maas (or Maes) was born at Dort in 1632. Early in 
 life he became the pupil of Rembrandt, and studied at Amsterdam 
 in the studio of this master, whose style he closely followed, more 
 particularly in his early paintings. In 1654 he returned to his 
 native town, where he died in 1693. 
 
9 6 
 
 GALLERY III. 
 
 134 PORTRAIT OF REMBRANDT'S 
 MOTHER. 
 
 N aged woman seated facing the spectator. She is 
 
 -* * attired in a red-figured silk gown and a black 
 cloak lined with fur; an embroidered scarf is on her 
 head. She is resting her elbow on her mantle, with a 
 closed book under it, and her hand is raised to her 
 neck, holding between the fingers the pearls of her 
 necklace. A large book is open on the table, over 
 which a curtain is suspended. 
 
 Engraved by Edward Scerwen. 
 Smith's Catalogue Raisonne, No. 542. 
 
 Rembrandt van Rhyn was born at Leyden in 1606. He was 
 the son of a miller, and his parents were in good circumstances. He 
 attended the Latin School, but his tendencies to Art induced his 
 father to place him with J. van Swanenburch, a painter, and a 
 member of an old Leyden family, with whom he remained three 
 years. At the age of fourteen he went to Amsterdam to study ; 
 three years later returned to his native town and worked incessantly 
 till at the age of twenty-two he settled finally at Amsterdam. He 
 there married a lady possessed of some fortune, who has become 
 famous through many portraits he painted of her. His mother was 
 also his model. After his wife's death, in 1642, he became involved 
 in his circumstances, and all his effects were sold, including his 
 collection of works of Art and his large house at Amsterdam, where 
 he had resided for many years. His troubles, however, did not 
 affect his professional career, and artists from all parts of Holland 
 came to study in his studio, the most famous of whom were Gerard 
 Dow and Ferdinand Bol. Rembrandt died at Amsterdam in 1669. 
 
 Painted by rembrandt van rhyn. 
 Canvas 56 x 39 inches. 
 Lent by earl spencer, k.g. 
 
GALLERY III. 
 
 97 
 
 5 RIVER SCENE. 
 
 Painted by albert cuyp. 
 
 Canvas 15 J x 21 inches. 
 
 Lent by william harvey, esq., of Leeds. 
 
 A LONG black boat with two men in it, is in the 
 foreground with a line of fishing floats. Tall- 
 masted vessels of war are to the left, and on the right 
 is a fortified town, with towers and castellated walls. 
 
 Collection of Mr. Henry Harvey. 
 National Exhibition, Leeds, 1868. 
 
 {For notice of the Painter's life> see No, 113.) 
 
 D 
 
GALLERY III. 
 
 LANDSCAPE, FIGURES AND 
 CATTLE. 
 
 Painted by adam pynaker. 
 Canvas 27 x 23 inches. 
 
 Lent by sir henry st. john mildmay, bart. 
 
 HE landscape is composed of clusters of trees on 
 
 1 a hilly ground, and objects peculiar to this 
 master, such as the stump of a beech, docks and other 
 weeds. Two peasants are introduced, with a dog, a 
 goat and several cows ; one of the latter is caught by 
 the leg in a bramble bush. " The delightful influence 
 of a fine summer evening is diffused throughout the 
 scene/ 7 
 
 Smith's Catalogue Raisonne, No. 26. 
 
 Adam Pynakrr or Pynacker was born at Pynacker, near Delft, 
 in 1 62 1. Nothing is known of his family name, or the name of his 
 master. At an early age he visited Italy, and for three years 
 studied in Rome the works of the great landscape painters. On his 
 return to Holland he soon became known and was much sought 
 after and admired ; he found employment in ornamenting the 
 apartments of large buildings (the practice being at that time to 
 decorate the walls of important structures with landscapes executed 
 by distinguished artists). Most of his pictures contain trees and 
 animals, but he also painted sea-pieces. He died in 1673. 
 
GALLERY III. 
 
 99 
 
 137 A HAWKING PARTY. 
 
 Painted by jan wynants. 
 Canvas 31 x 40 inches. 
 
 Lent by sir henry st. john mildmay, bart. 
 
 ON the right is a winding road on which are several 
 gentlemen and a lady on horseback with atten- 
 dants and dogs, enjoying the recreation of hawking. 
 The foreground is painted in the artist's most engaging 
 manner, and is broken and diversified by two old oak 
 trunks, one of which is thrown down amongst docks, 
 thistles and other herbage. The figures, horses and 
 dogs are by the hand of philips wouwerman, by 
 whom the more brilliant and highly finished works 
 of Wynants were enriched. 
 
 Collection of M. le Brun until 1791. 
 Collection of Mr. Crawford, until 1801. 
 Smith's Catalogue Raisonne, No. 44. 
 
 Jan Wynants was born about 1600, and resided at Haarlem until 
 1660. Of the many great landscape painters who distinguished the 
 School of Haarlem, none showed more originality than Jan Wynants. 
 He showed a preference for open scenery, where, "under a sky of 
 summer blue, the undulating soil reveals its origin through beaten 
 tracks and rugged roads, with their shelving sides of gold-coloured 
 sand." Figures in his pictures were generally inserted by Adrian 
 van de Velde or Lingelbach, and occasionally by Wouwerman. 
 During the last years of his life he resided in Amsterdam, where he 
 died, 1679. 
 
 D 2 
 
100 
 
 GALLERY III. 
 
 138 DUTCH VILLAGE, CANAL, 
 MOONLIGHT. 
 
 A DUTCH Village on a canal surrounded with trees 
 on a bright moonlight night. In the foreground 
 are two hewers of wood at their occupation, and in the 
 middle distance are some fishermen. 
 
 " The effect of moonlight is here rendered with admirable skill 
 in every portion. The treatment is highly solid and free, 
 proving that the picture belongs to his later time." Waagen. 
 
 Collection of Lord Overstone. 
 
 Aert Van DER Neer was born at Amsterdam in 1603. Very little 
 is known of his life. lie excelled in moonlight views, towns and 
 groups of cottages. lie frequently painted winter pieces with 
 figures on the ice, in which he is scarcely surpassed. He died, very 
 poor, at his native town in 1677. 
 
 Painted by aert van der neer. 
 
 Canvas 26^ x 31^ inches. 
 
 Lent by lord wantage, k.c.b., v.c. 
 
Coffecfton of WorUe mamfg 
 Jfffuefrafing f$e &tt of tfle ^cu^fot^ofcemtf^ 
 anb <S5em=<£ttcpra£er. 
 
 Cflteffg «f <9« I5f$ ftn& 16f$ cenfurieo. 
 
 Lent by Sir J. C. ROBINSON, F.S.A. 
 
 The objects contained in the five cases labelled A, B, C, D, E, were previously 
 exhibited at the winter Exhibition of the Royal Academy this year ; and at the 
 request of the Worshipful Company of Goldsmiths, and with the concurrence 
 of the Corporation, they have been transferred, with some addition to the Guildhall 
 Gallery, for a fm'ther period of exhibition to the public. 
 
 Case A. In Gallery II. 
 
 1 A. BOOK OF PRAYERS. 
 
 Gold enamelled cover. Reputed to be the prayer-book of the Emperor 
 Charles V. The manuscript contents, in the Spanish language, are the 
 confession of faith of the Emperor, ("Protestation del Imperador Carlos") 
 a prayer to the Virgin and to the Guardian Angel. On the inside of the 
 cover are two illuminations, the Virgin and Child, and a Saint with a 
 sword, c. 1550 — 1560. 
 
 B. POMANDER or SCENT-CASE. 
 
 Enamelled gold. In the form of an armillary sphere, containing a bezoar 
 
 stone. Spanish, c. 1540 — 1550. 
 
 This jewel, kept for many generations as an heirloom in the family of the 
 Marqueses of Monroy, of Caceres in Spain, was reputed to have been given by 
 the Emperor Charles V to Hernan Cortes, the conqueror of Mexico. It was 
 brought into the Monroy family by intermarriage with a lady of the family of 
 the Marqueses de la Conquista, of the neighbouring city of Truxillo, lineal 
 descendants of Cortes. 
 
 c. PENDANT JEWEL. 
 
 " The Lesser George" or, Badge of the Order of the Garter, worn 
 
 by the Earl of Strafford, Minister of King Charles I. The enamel of 
 
 St. George and the Dragon on the reverse was copied from the small 
 
 picture by Raphael in the royal collection, sold after the execution of the 
 
 king, and now in the Louvre. 
 
 This jewel, together with the " Greater George" was preserved as an heirloom 
 by the descendants of Lady Anne Wentworth, eldest daughter of Strafford, 
 until c. i860— 1870. 
 
102 GALLERY II. 
 
 D. PENDANT JEWEL. 
 
 Enamelled gold. Badge of the Order of the Bath. This badge 
 of the Order is of English or Scottish work of the beginning of the reign 
 of James I, and is believed to have been made to be worn by the king. 
 
 2 A. RELIQUARY. 
 
 Silver-gilt and rock-crystal. In the form of a thurible. German, c. 1350. 
 
 B. SPOON. 
 
 Silver-gilt. The handle formed by a figure of St. Christopher; the bowl 
 elaborately engraved. German, c. 1450. 
 
 c. DIPTYCH. 
 
 Silver-gilt frame. On the front side a rilievo of the Angelic Saluta- 
 tion, in carved bone. Venetian, c. 1480. 
 
 3 a. PECTORAL CROSS. 
 
 Gold enamelled. English, c. 1530 — 1540. 
 
 B. PECTORAL CRUCIFIX. 
 
 Gold enamelled, set with table diamonds. A monk kneeling at the foot 
 of the Cross. Spanish, c. 1580. 
 
 c. PECTORAL CROSS. 
 
 Gold, enriched with cloisonne translucent enamels. Spanish, c. 1580. 
 
 b. PENDANT JEWEL. 
 
 Gold enamelled. Badge of the Order of St. Michel. French, c. 1540. 
 
 e. PENDANT JEWEL. 
 
 Gold enamelled. Diana with a Dog. Italian, c. 1570. 
 
 F. PENDANT JEWEL. 
 
 Gold enamelled. In the form of a lizard or chameleon, encrusted with 
 opals. Italian, c. 1560. 
 
 g. PENDANT. 
 
 Gold enamelled. In the form of a green lizard, set with rubies. Italian 
 c. 1560. 
 
 H. PENDANT JEWEL. 
 
 Gold enamelled. In the form of an anchor, set with table diamonds. 
 English, first quarter of the 17 th century. 
 
 I. PENDANT JEWEL. 
 
 Gold enamelled, set with rubies. French or German, first half of the 
 17 th century. 
 
 4 A series of eight Gold Enamelled Jewels of the 16th and 17th centuries. 
 
 A. PENDANT JEWEL. 
 
 Set with an onyx cameo of the Nativity. German work, c. 1600. 
 
 b. CAMEO. 
 
 Onyx. Head of Medusa. Antique Roman. The enamelled setting 
 of intertwined serpents is of Italian Cinque Cento work. 
 
GALLERY II. IO3 
 
 c. PENDANT. 
 
 Two peach-stones, carved with minute scriptural subjects, set in 
 enamelled gold. The carved stones open on hinges and disclose an onyx 
 cameo and other ornaments in the interior. Italian, c. 1 570. 
 
 D. PENDANT JEWEL. 
 
 Gold. Italian, first half of the 16th century. 
 
 This jewel was recently dredged up in one of the canals of Venice. It was 
 originally enamelled. 
 
 A. PENDANT JEWEL. 
 
 Gold enamelled. A phoenix in the centre. Italian, c. 1560. 
 
 b. PECTORAL CROSS. 
 
 Enamelled gold, set with shaped table diamonds. Spanish, c. 1540. 
 
 This jewel was one of the principal pieces in the collection of votive jewels pre- 
 served in the treasury of the Cathedral of Nuestra Senora del Pilar, in Saragossa. 
 The entire collection was sold by the chapter of the cathedral about 1875, to 
 furnish funds for the completion of the fabric of the church. 
 
 c. MEDIEVAL JEWEL. 
 
 Circular, gold enamelled. An Angel holding an Inscribed Scroll. 
 On the reverse an engraved half-length figure of St. John the Evangelist. 
 French or Spanish, c. 1350. 
 
 D. JEWEL. 
 
 Circular, silver-gilt enamelled, with translucent painted enamels of half- 
 length figures of saints, and religious inscriptions. North Italian work, 
 probably Milanese, by a goldsmith of the following of Leonardo da Vinci, 
 c. 1490. 
 
 E. PENDANT. 
 
 Enamelled gold. With a figure of a couchant lamb, the body formed by 
 a " perle baroque" Italian, c. 1540-1560. 
 
 F. PENDANT JEWEL. 
 
 French, c. 1500-1520. 
 
 Found in the Seine in Paris. 
 
 g. SMALL CROSS. 
 
 Enamelled gold, set with table diamonds. Italian or Spanish, c. 1580. 
 
 A. PENDANT JEWEL. 
 
 From a string of pearls, gold enamelled, set with an intaglio in helio- 
 trope. Italian, c. 1570. 
 
 b. PENDANT JEWEL. 
 
 Gold, decorated with cloisonne enamel work and gems. Spanish work, 
 probably by a goldsmith of Barcelona, c. 1500. 
 
 c. PENDANT. 
 
 In the form of a ship, the hull formed of mother-of-pearl. Spanish, 
 c 1 570-1 580, 
 
 Brought from Ireland, and conjectured to have formed part of the spoil of the 
 Spanish Armada. 
 
104 GALLERY II. 
 
 D. PENDANT JEWEL. 
 
 Gold, with cloisonne enamel work. In the form of a ship, with a 
 cabochon balas ruby and two emeralds attached. Spanish, c. 1560. 
 
 7 A series of Ten objects, including four Pectoral Crosses of Spanish 16th 
 
 century work, and two engraved silver-gilt Devotional Medallions ; the 
 latter German work of the early part of the 16th century. 
 
 8 A. DESIGN. 
 
 Original design for three pendant jewels. German, c. 1 530. 
 
 Probably a diploma Drawing (" dessin de maitrise") made on the reception of 
 the artist goldsmith as a member of his guild. 
 
 b. CAMEO. 
 
 Onyx. Regardant portraits of the Emperor Maximilian and his 
 Wife, Mary of Burgundy. Italian (?), c. 1480-1490. 
 
 c. CAMEO. 
 
 Onyx. Virgin and Child. German or Flemish, c. 1480. 
 D. SEAL. 
 
 Enamelled gold. The seal of King George I. when Elector of Hanover. 
 Believed to be by the Dresden goldsmith Dinglinger, c. 1 700-1 720. 
 
 e. THREE CAMEOS. 
 
 Onyx. Originally the centres of badges or "Lesser Georges" of Knights 
 of the Garter, taken from the jewels which have been surrendered and 
 dismounted on the deaths of the respective knights to whom they 
 belonged. 17th century. 
 
 F. JEWEL CAMEO. 
 
 In enamelled gold mount. Italian, 16th century. 
 
 9 A Series of Eight Gold Enamelled Jewels, &c., chiefly of Spanish 17th 
 
 century work. 
 
 A. PENDANT JEWEL. 
 
 Gold enamelled. The "Virgen del Pilar" of Saragossa. 
 
 b. TRIANGULAR JEWEL. 
 
 Both these are the work of Aragonese or Catalonian goldsmiths, probably of 
 Saragossa, of the early part of the 17th century. 
 
 10 A. PENDANT. 
 
 Enamelled gold. Badge of the Order of Malta. Italian, first 
 half of 17 th century. 
 
 b. RELIQUARY. 
 
 Crystal and gold enamelled Jewel. Spanish, c. 1580. 
 
 c. RELIQUARY. 
 
 Oval jewel. Spanish, c. 1580. 
 
 d. " LACIS " JEWEL. 
 
 Spanish, c. 1660. 
 
GALLERY II. 105 
 
 E. " LACIS" JEWEL. 
 
 Gold filigree, set with a sapphire. Spanish, c. 1660. 
 
 F. RELIQUARY. 
 
 Gold enamelled pendant. Spanish, c. 1600. 
 
 G. PENDANT JEWEL. 
 
 Gold enamelled. French, Louis XIII period. 
 
 H. RELIQUARY. 
 
 Spanish crystal, c. 1600. 
 
 I. LOCKET. 
 
 Cameo. Equestrian Figure of Gustavus Adolphus. German, 
 c. 1650. 
 
 j. LOCKET. 
 
 With a small crucifix. Spanish, 1 6th century. 
 
 11 A Series of Twelve Objects, chiefly Painted Enamels on Gold, 17th and 18th 
 
 centuries. 
 
 A. RELIQUARY. 
 
 Gold. Oblong, with a bas-relief enamel of the Nativity. Italian or 
 French, c. 1600- 1630. 
 
 B. BAS-RELIEF. 
 
 Small oval enamel on gold. c. 1600- 1 630. 
 
 c. ARCHED TOP DEVOTIONAL PICTURE. 
 
 Enamel on gold. German, first half of 17th century. 
 
 D. PAIR OF BRACELET SNAPS. 
 Enamelled. French, c. 1750. 
 
 12 Nine Enamelled Gold Jewels of various origin. 16th and 17th centuries. 
 
 A. RELIQUARY. 
 
 Lantern-shaped. Spanish, c. 1580. 
 
 B. POMANDER or SCENT-CASE. 
 
 German, c. 1600. 
 
 c. D. TWO JEWELS. 
 
 Enamelled. In the form of skulls, opening on hinges, with devotional 
 subjects in the interior. 
 
 13 FIVE HAT-MEDALLIONS. 
 
 Enamelled gold and cameos. Italian, first half of 16th century. Of 
 these, A is from the design of Francesco Francia the painter. 
 
 14 TEN FINGER-RINGS. 
 
 Of various origin, chiefly 17th and 18th century work. 
 
 15 EIGHT FINGER-RINGS. 
 
 Enamelled gold. Italian and German, chiefly 16th century work. 
 
io6 
 
 GALLERY II. 
 
 16 SEVEN FINGER-RINGS. 
 
 Enamelled gold. Italian, 16th century work. 
 
 17 NINE FINGER-RINGS. 
 
 Enamelled gold. Of Italian, German, Spanish and other origin, chiefly 
 of the 1 6th century. 
 
 18 NINE FINGER-RINGS. 
 
 Enamelled gold. Italian, French and German, 17th century. 
 
 19 FOURTEEN FINGER-RINGS. 
 
 English, French and others, mostly of the 1 8th century. 
 
 20 SMALL METALLIC MIRROR. 
 
 In carved boxwood frame. By the Flemish sculptor Vriedeman de Vries, 
 middle of the 16th century. 
 
 21 STANDING RELIQUARY CROSS. 
 
 Reputed to contain a portion of the wood of the true Cross. The stem 
 
 silver gilt and enamelled, the upper portion, containing the relic, is gold 
 
 enamelled, and set with cabochon sapphires and rubies. The cross 
 
 bears the arms, several times repeated, of Robert of Anjou, King 
 
 of Hungary, 1309- 1 343. It also bears the Imperial Austrian arms, 
 
 probably added c. 1520. 
 
 This cross was probably made in France, by the order of Robert of Anjou, for 
 his private chapel, or for presentation to a churchy in Hungary, and on the 
 union of Hungary with Austria, under Ferdinand, King of the Romans, it was 
 removed to Vienna. 
 
 22 STATUETTE. 
 
 Carved wood gilt and painted (" Estofado "). Virgin and Child 
 By Alonso Cano. 
 
 23 STATUETTE. 
 
 Ivory. St. Georgb and the Dragon. French or Burgundian 
 (Dijon), c. 1450. 
 
 24 PYX or CIBORIUM. 
 
 Gilt Metal. Italian, c. 1 500. 
 
 25 CHALICE.— 
 
 Silver and gilt metal. Made at Anghiari, in Tuscany, 1572. 
 
 On this chalice being recently repaired there was found inside the foot^ a small 
 piece of paper, with an inscription in Italian, of which the following is a 
 translation : " In the Annals of the town of Anghiari, vol. ii., p. 185, may be read 
 the following memoir : 1 Whereas the Jews resident in Anghiari were compelled, 
 on the feast of St. Martin, to furnish a prize (" correre un palio ") for a footrace 
 of the value of 90 soldi, therefore, to do away with the remembrance of that 
 folly, on the 10th August, 1572, the value of the prize was commuted into a 
 chalice, bearing the arms of the city, the bowl to be of silver gilt, and it was 
 presented to the sacristy of St. Francis of the Cross, where down to the present 
 day it may be seen.' The present memoir was extracted by the Very Rev. 
 Signor Provost Niccola Tuti, and consigned to me for preservation, and to that 
 end, on the 15th of June of the year 1829, I placed it under the enamelled plaque 
 in the foot of the chalice in question, that by this means might be handed down 
 to posterity the memory of this fact, as it may be found in the annals of 
 Taglieschi.— Pietro Biagiotti, Capellano Sacristan, his signature in his own 
 handwriting." 
 
GALLERY II. 
 
 107 
 
 26 EQUESTRIAN STATUETTE. 
 
 Silver. The Emperor Ferdinand II. of Austria. Vienna, 
 1619-1637. 
 
 27 B^NITIER. 
 
 Rock-crystal mounted in silver-gilt. Representing Christ and the 
 Samaritan Woman at the Well. French Renaissance, c. 1530. 
 
 28 KNIFE AND FORK. 
 
 With carved ivory hilts. Believed to be by Lucas Faidherbe, of Brussels, 
 a scholar of Rubens, c. 1630. 
 
 29 POMANDER or SCENT-CASE. 
 
 Silver inlaid with niello-work. In the interior are inscriptions in 
 Longobardic characters relating to classical deities. Italian, probably 
 Florentine, c. 1280. 
 
 30 BOX. 
 
 Gold, enamelled in relievo. French, Louis XIII period. 
 
 31 SEAL. 
 
 Set with a large engraved emerald, with the arms of the Marqueses of 
 Monroy of Caceres in Spain, c. 1600. 
 
 32 SMALL ONYX FLACON. 
 
 With stopper formed as a bunch of grapes, in emerald. French, second 
 half of 1 8th century. 
 
 S3 HAND-MIRROR. 
 
 Silver engraved. French, first half of 17th century. 
 
 34 SNUFF-BOX. 
 
 Gold and mother-of-pearl. French, c. 1720. 
 
 35 SMALLER SNUFF-BOX. 
 
 Gold and mother-of-pearl. French, c. 1720. 
 
 36 CIRCULAR BOX. 
 
 Silver. With a group of shells on the cover. French work, c. 1750. 
 
 37 CASE FOR RINGS. 
 
 Stamped leather. French or German, c. 1600. 
 
 38 CASE. 
 
 Probably for a standing watch. Stamped leather. Italian (?) c. 1600. 
 
 39 PAIR OF TERMINAL FIGURES. 
 
 Silver-gilt. Spanish work, c. 1550. Believed to be fragments from 
 the Custodia, or sacrament shrine, of the Cathedral of Cuenca, in Spain, 
 the work of the celebrated goldsmith Becerril, of that city. 
 
 The Custodia was melted down by the French General, Caulaincourt, in 1808. 
 Other fragments of the work, saved at the time by the local goldsmith employed 
 to dismount the work, are in the South Kensington Museum. 
 
io8 
 
 GALLERY II. 
 
 40 HAND-MIRROR. 
 
 Filigree silver work. French or Italian, 17th century. 
 
 41 BONBONNlfeRE. 
 
 Gold enamelled. French, Louis XIV period. 
 
 42 HOURGLASS. 
 
 Gold embroidery work on cut paper. Italian, second half of 16th 
 century. 
 
 43 TRIPTYCH. 
 
 Carved boxwood. Veneto-Sclavonic, from Dalmatia, c. 1490. 
 
 44 PLAQUE. 
 
 Carved ivory. The Ordination of an Ecclesiastic. Probably 
 from a portable altar (" superaltare "). German, nth century. 
 
 45 TWO PLAQUES. 
 
 Carved ivory. The Twelve Apostles. Probably originally from a 
 portable altar. German, 10th or nth century. 
 
 46 THREE PLAQUES. 
 
 Carved ivory. Originally from book-covers, nth century. 
 
 47 TWO PLAQUES. 
 
 Carved ivory. A. German, 10th or nth century. B. Ancient Hindoo 
 work. 
 
 48 SMALL CASKET. 
 
 Old Chinese porcelain, mounted on or-moulu. French work, first half of 
 1 8th century. 
 
 Case B. In Gallery I. 
 
 r 
 
 49 LECTERN. 
 
 Gilt bronze. Spanish work, c. 1520. Believed to be by the goldsmith 
 Becerril, of Cuenca. 
 
 Formerly belonging to one of the private chapels in the Cathedral of Valencia. 
 
 50 MANUSCRIPT BOOK. 
 
 Bound in crimson velvet, with mountings of silver-gilt. The ordering of 
 the admission of certain magistrates of the city of Toledo. Spanish, 
 dated 1590. 
 
 51 EMBROIDERED LECTERN CLOTH. (" Antependium.") 
 
 Spanish, c. 1530. 
 
 52 CASKET. 
 
 Silver parcel-gilt. Italian, c. 1520. 
 
GALLERY I. 
 
 109 
 
 53 CASKET. 
 
 Carved ivory, with lock and hinges in gold, set with cabochon sapphires. 
 Indo- Portuguese, made at Goa, c. 1540, to contain the consecrated oils 
 for baptism and extreme unction. 
 
 54 PYX or CIBORIUM. 
 
 Ivory, mounted in gilt and engraved metal. North of France or 
 Flanders, c. 1200- 1250. 
 
 55 ENGRAVING. 
 
 Applique work on a gold ground, under glass, representing the Angelic 
 Salutation. German, c. 1480. 
 
 56 SERIES OF PLAQUES. 
 
 Champ leve enamel, mounted as a tablet. 12th century. Acquired at 
 Burgo de Osma, Spain. 
 
 57 PAX. 
 
 Venetian Gothic, c. 1450. 
 
 58 TABERNACLE. 
 
 Ivory carving. The Angelic Salutation. French work, second 
 half of 13th century. The carved wood tabernacle is of English origin, 
 of second half of 1 5th century. 
 
 59 SIX PLAQUES. 
 
 Carved Ivory. 13th and early 14th centuries. 
 
 A. A King and Queen on their thrones, under Gothic canopies. Believed to 
 
 be Edward II and his Queen Isabella of France. English, c. 1 300-1 320. 
 
 B. One Leaf of a pair of Writing Tablets. Romance subjects. French, 
 
 c. 1300. 
 
 60 SIX CARVED IVORIES of the 13th and early 14th centuries. 
 
 The series comprises a devotional Triptych and two circular Mirror- 
 covers. French work. 
 
 61 TWO PLAQUES. 
 
 Ivory. French Gothic. Second half of 13th century. 
 
 62 THIRTEEN SPECIMENS OF CUT STEEL WORK. 
 
 17th and 18th centuries. Italian, French and English* 
 
 63 MEDALLION. 
 
 Bronze. Louis XII and Anne of Brittany. French, first half 16th 
 century. 
 
 64 BOWL. 
 
 Silver. English, c. 1580. 
 
 65 EIGHT FINGER RINGS. 
 
 Gold. Of various epochs, chiefly Italian and German, 16th and 17th 
 centuries. 
 
110 GALLERY I. 
 
 66 EIGHT FINGER RINGS. 
 
 Gold. Mediaeval and Renaissance periods. 
 
 67 NINE RINGS. 
 
 Gold. Mediaeval, comprising several of English origin of the 13th, 14th, 
 15th and 16th centuries. 
 
 68 SMALL CASKET. 
 
 Silver filigree. German, c. 1520. 
 
 69 SMALL CUP. 
 
 Onyx. Antique Roman work. 
 
 70 SMALL CASKET. 
 
 White enamel and gold. French or German, second half of 17th 
 century. 
 
 71 PAIR OF CUPS. 
 
 Enamel on silver or copper. German, c. 1700. 
 
 72 BOX 
 
 Gold enamelled, in the form of a shell. Indian, 17th or 18th century. 
 
 73 SMALL FLACON. 
 
 Carved ivory. Italian, 17th century. 
 
 74 SNUFF-BOX. 
 
 Rock-crystal and gold. French, second half of 18th century. 
 
 75 SNUFF BOX. 
 
 M Vernis Martin M lac-work. French, early 18th century. 
 
 76 BONBONNlfeRE. 
 
 Tortoiseshell and gold filigree. Italian, c. 1700. 
 
 77 CIRCULAR BOX. 
 
 " Vernis Martin " lac- work. French, 18th century. 
 
 78 £tui. 
 
 Incised leather. Italian, 16th century. 
 
 79 PRAYER-BOOK. 
 
 With silver mounts. French, c. 1660. 
 
 80 BOX. 
 
 Formed of a shell cut "en camaieu " and mounted in gold. French, 
 first half of 1 8th century. 
 
 81 FLACON. 
 
 Carved ivory. Grotesque heads. Italian, second half of the 17th 
 century. 
 
 82 CIRCULAR BOX. 
 
 Carved ivory. Dutch, c. 1720. 
 
 83 SQUARE BOX. 
 
 Carved ivory. Dutch, c. 175°* 
 
GALLERY I. 
 
 Ill 
 
 84 CIRCULAR BOX. 
 
 Carved ivory. Dutch, c. 1720. 
 
 85 SMALL CYLINDRICAL FLACON. 
 
 Mounted in enamelled gold. French, c. 1600. 
 
 88 POMANDER. 
 
 Silver. German, c. 1580. 
 
 87 SMALL FLACON. 
 
 Onyx, gold mounted. Italian, 1 6th century. 
 
 88 BOX. 
 
 Massive gold, set with turquoise. Ancient Chinese. Part of the spoil 
 from the Summer Palace at Pekin. 
 
 89 CUP AND COVER. 
 
 Silver-gilt. English Elizabethan work. 
 
 90-91 TWO PURSES. 
 
 Embroidered. French, 17th century. 
 
 92 SNUFF-BOX. 
 
 Carved boxwood, in the shape of the head of a pug dog. English or 
 French, c. 1730. 
 
 93 SCENT- BOTTLE. 
 
 Dresden porcelain, with gold stopper, c. 1720. 
 
 94 SNUFF-BOX. 
 
 Agate, mounted in gold repousse work. French, c. 1730. 
 
 95 DEVOTIONAL PLAQUE. 
 
 Carved ivory. Spanish Gothic. Early 15th century. 
 
 96 SNUFF-BOX. 
 
 Carved boxwood, in the shape of the head of a pug dog. c. 1730. 
 
 97 SNUFF-BOX. 
 
 Tortoiseshell and gold pique work. French, e. 1720. 
 
 A. IVORY CARVING. 
 
 A skeleton. German work, first half of 17th century. 
 
 b. TWO PLAQUES. 
 
 Carved ivory. French, 13th century. 
 
 c. IVORY PLAQUE. 
 
 The Crucifixion. French, 13th century. 
 
 d. CARVING IN BONE. 
 
 Silenus. Originally part of a powder-flask. Copied from a bronze 
 rilievo ascribed to Donatello. 
 
112 
 
 GALLERY III. 
 
 Case C. In Gallery III. 
 
 98 APPLIQUA RILIEVO. 
 
 Repousse work in gold on a ground of black glass. In ebony frame, 
 enriched with arabesques in gold " estofado " work. By the Venetian 
 goldsmith Maestro Cesare di Treviso. Signed, " Opus Cesaris Tar. 
 Veneti." 
 
 This rilievo, which retains its original mounting and frame, was executed for 
 King Philip II. of Spain. It was presented by the king in the year 1566 to the 
 General of the Order of Augustinians in Spain, and by the latter at his death 
 bequeathed to the Augustiriian convent at Ocana, province of Toledo, from 
 whence it was recently obtained. 
 
 99 ROSE-WATER SALVER. 
 
 Silver-gilt. Decorated "en repousse " in high relief. The figure 
 subjects in the raised centre represent combats betwixt Christian knights 
 and Moriscos. Spanish or Portuguese, c. 1490. 
 
 100 BOWL or SALVER. 
 
 Silver parcel-gilt. In repousse work. Spanish, c. 1450. 
 
 101 BOWL. 
 
 Silver, with ornamentation in repousse. Italian Quattro Cento work. 
 The u imprint " of arms in the centre, originally enamelled, was added 
 about the middle of the succeeding century. 
 
 This bowl was recently dredged up from one of the canals in Venice. 
 
 102 MEDALLION. 
 
 Bronze. Louis XIV of France. By the sculptor-goldsmith Bertinet, 
 c. 1700, 
 
 103 MEDALLION. 
 
 Gilt bronze. Isabella of Castille, Queen of Spain, c. 1500. The 
 face and bust " cold enamelled," or painted (" estofado "), in the Spanish 
 manner. Probably the work of one of the eminent Spanish sculptor- 
 goldsmiths of the period. This medal is a unique example. 
 
 104 GROUP. 
 
 Bronze. Hercules and Cacus. By Giovanni di Bologna, c. 1600. 
 
 105 STATUETTE. 
 
 Bronze. Anatomical figure. From the design of Michel Angelo, and 
 probably cast and chased from an original wax model by him. The 
 figure is that of one of the archers in the engraved composition, after 
 M. Angelo's drawing, known as Gli Arcieri. First half of 1 6th 
 century. 
 
 108 CASSOLETTE or PERFUME-BURNER. 
 
 Damascene work in gold and silver on bronze, 13th or 14th century. 
 
 107 DOOR-KNOCKER. 
 
 Bronze. Italian, c. 1560. 
 
GALLERY III. 
 
 US 
 
 108 CASSOLETTE or PERFUME-BURNER. 
 
 Gilt metal. Venetian, c. 1550. 
 
 109 CALVARY. 
 
 Carved boxwood. Flemish, c. 1 500-1 520. 
 
 110 Thirteen various objects in Goldsmith's work, mainly of the 1 8th century. 
 
 111 Seven various objects, the most notable being — 
 A. RILIEVO. 
 
 Silver. The Crucifixion. Spanish, c. 1550. 
 
 b. PLAQUE. 
 
 Limoges enamel. In its original gilt-metal frame, engraved in arabesque 
 work at the back. French, c. 1530. 
 
 112 FOURTEEN OBJECTS OF BIJOUTERIE. 
 
 Mainly of the 17th century. 
 
 113 EIGHT WATCHES. 
 
 Enamelled. French and English work of the 18th century. 
 
 114 Six various objects. 
 
 A. DEVOTIONAL TRIPTYCH. 
 
 Gilt metal, with enamelled background. German Gothic, early 15th 
 century. 
 
 B. CIRCULAR ENAMEL ON COPPER. 
 
 St. Jerome. North Italian, c. 1480-1500. 
 
 115 Six Various Objects. 
 
 A. B. MARRIAGE MEDALS. 
 
 Silver. Flemish or Dutch, dated 1558. 
 
 116 THREE SNUFF-BOXES. 
 
 Gold chased. French, period of Louis XV. 
 
 TWO SMALL BOXES. 
 
 Enamelled on gold. French (?), Louis XIII period. 
 
 117 FIVE SNUFF-BOXES. 
 
 Enamelled and chased gold. French, Louis XV and XVI periods. 
 
 118 STATUETTE. 
 
 Bronze. Minerva. Antique Greek or Roman wor^, believed to have 
 been found at the site of the ancient Aquileia, near Venice. 
 
 119 SMALL STATUETTE OF A YOUNG GIRL. 
 
 Bronze. Antique Greek. 
 
 120 MINIATURE GROUP. 
 
 Bronze. Laocoon. Italian, first half of 16th century. 
 
 121 STATUETTE. 
 
 Bronze. Antique Roman. Victory. 
 
114 GALLERY III. 
 
 122 STATUETTE. 
 
 Bronze. Venus. Italian, first half of i 6th century. 
 
 123 SMALL RELIQUARY CASKET. 
 
 Rock-crystal, mounted in gold. Spanish, second half of 1 6th century. 
 
 124 BONBONNIERE. 
 
 Tortoiseshell, inlaid with gold arabesque ornamentation. In the interior 
 is a painted miniature of Philip V, the first Bourbon King of Spain, 
 c. 1 720-1 730. 
 
 125 CAMEO. 
 
 Onyx. Bust of Minerva. Antique Roman, on pedestal of lapis lazuli, 
 of 1 8th century adjustment. 
 
 126 ALTO-RILIEVO. 
 
 Bronze. The Crucifixion. By Donatello. Florentine, first half of 
 15 th century. 
 
 127 BOXWOOD CARVING. 
 
 The Virgin and Child. By a German artist, c. 1500. 
 
 a. BOXWOOD RILIEVO. 
 
 The Baptism of Christ. Flemish, c. 1480. 
 
 123 TWO PANELS. 
 
 Arabesque, gold etched work on glass. German, c. 1600. 
 
 129 RILIEVO. 
 
 Lithographic stone. German, c. 1530. 
 
 130 SNUFF-BOX. 
 
 Agate, mounted in gold. French, 18th century. 
 
 131 ASTROLABE. 
 
 Enamelled silver. Indian, 17th oc 1 8th century. 
 
 132 ALTO-RILIEVO. 
 
 Lead or pewter. Lucretia killing herself. With inscriptions in 
 engraved bronze. Italian, ascribed to Lorenzo Ghiberti, first half of 
 15th century. 
 
 133 BOX. 
 
 Enamelled in silver. Indian. 
 
 134 SNUFF-BOX. 
 
 Tortoiseshell and gold. In the form of a galley. Italian, c. 1700. 
 
 135 VINAIGRETTE. 
 
 Gold chased. French, c. 1790. 
 
 136 SMALL BOX. 
 
 Onyx. Italian, c. 1 600. 
 
 137 CIRCULAR BOX. 
 
 Straw mosaic. Dutch, 18th century. 
 
GALLERY III. 
 
 115 
 
 138 BOX. 
 
 Shell carved. Italian, 16th century. 
 
 139 SHUTTLE. 
 
 Carved ivory. French or Dutch, 18th century. 
 
 140 BOX. 
 
 "Vernis Martin " work. French, 1 8th century. 
 
 141 fiTUI. (Or Needle-case). 
 
 Carved ivory. French, 18th century. 
 
 142 BOAT-SHAPED BOX. 
 
 Agate, mounted in gold. 18th century work. 
 
 143 PIPE. 
 
 Carved ivory. Venetian. Second half of 17th century. 
 
 144 BOX. 
 
 Enamelled silver. Indian, 
 
 A. SMALL TWO-HANDLED CUP, OR "TAZZA." 
 Green jasper. Antique Roman. 
 
 B. SMALL BOAT-SHAPED CUP. 
 Fine Sardonyx. Antique Roman. 
 
 Case D. In Gallery II. 
 
 145 WAX MODEL, 
 
 Prepared for "cire perdue " casting in bronze. Italian, 15th century 
 The original is by Donatello. 
 
 146 A. MEDALLION. 
 
 Bronze. Federigo, Duke of Urbino, c. 1475, m &de to commemorate 
 his election to the Order of the Garter. By the Florentine sculptor 
 Bertoldo, scholar of Donatello. Unfinished. 
 
 B. MEDALLION. 
 
 Boxwood. By or from a drawing by Albert DUrer. Dated 1526. 
 
 c. ORIGINAL MODEL. 
 
 Gilt bronze. For the great seal of Cardinal Giulio de' Medici, afterwards 
 Pope Clement VII. Probably by Maestro Lautizio di Perugia. 
 
 D. MEDAL. 
 
 Bronze. By an Augsburg goldsmith, c. 1530. 
 
 147 RELIEVO. 
 
 Bronze. Bacchanalian subject. French, c. 1770. Attributed to Clodion* 
 
Il6 GALLERY II. 
 
 148 PLAQUE. 
 
 Bronze. The lid of a casket, or "calamaio." Attributed to Caradosso 
 of Milan, c. 1 500. 
 
 149 A. RELIEVO. 
 
 Alabaster of Volterra. Probably prepared as a type for a bronze 
 plaquette. c. 1500. 
 
 B. ORIGINAL DESIGN FOR A RILIEVO. 
 
 By the same hand. A series of Drawings, of which the present specimen 
 formed one, is in the Museum at Lille. They are there ascribed to 
 Giacomo Francia. 
 
 c. PLAQUETTE. 
 
 Moulded blue glass. Italian, first half of 16th century. 
 
 150 SEVEN PLAQUETTES. 
 
 Bronze. Italian, 15th and 16th centuries. 
 
 151 NINE PLAQUETTES. 
 
 Bronze. Italian, 15th and 16th centuries. 
 
 152 ELEVEN PLAQUETTES. 
 
 Bronze. Italian, 15th and 16th centuries. 
 
 153 THIRTEEN PLAQUETTES. 
 
 Bronze. Italian, 15th and 16th centuries. 
 
 154 FIFTEEN MEDALLION PLAQUETTES. 
 
 Bronze. These are cast from, or prepared models for, gold-enamelled 
 hat-medallions (see Case A, No. 13). 
 
 155 CARVING IN WOOD. 
 
 The Virgin and Child, with Angels. Spanish, dated 1 536. 
 
 156 DAGGER. 
 
 The hilt and sheath in chiselled and gilded steel, decorated with scroll 
 foliage ; the Imperial eagle, with escutcheons of the arms of Austria are 
 twice repeated on the hilt ; German work, c. 1520-30. The design is 
 believed to have been by Hans Holbein, by whom several original 
 drawings of similar daggers are extant. From the armorial bearings, 
 there can be little doubt that the dagger was made for the Emperor 
 Charles V. It has been recently acquired from Madrid. 
 
 Case E. In Gallery II. 
 
 160 TWENTY-TWO CAMEOS. 
 
 Antique Greek and Roman. 
 
GALLERY II. 
 
 117 
 
 161 Ten Antique Greek and Roman Intaglios. 
 A. INTAGLIO. 
 
 Venus on a sea monster. Signed by the Grseco-Roman gem- 
 engraver, Hyllas. 
 
 b. INTAGLIO. 
 
 SCYLLA KILLING A MARINER. 
 
 c. INTAGLIO. 
 
 Venus. Roman work, in very low relief. 
 
 162 Fifteen Antique Greek, Roman, and Byzantine -Greek Cameos. The most 
 
 important are : — 
 
 A. CAMEO. 
 
 Warrior striking down a barbarian. From the Collection of 
 Lorenzo de Medici, and bearing his collector's mark engraved upon it. 
 
 B. CAMEO. 
 
 Victory driving a Biga. 
 
 c. CAMEO. 
 
 Cupid bearing the ^Egis of Minerva. 
 
 d. CAMEO. 
 
 Head of Medusa, within an olive or myrtle wreath. 
 
 163 Ten Antique Greek and Roman Intaglios. 
 
 A. INTAGLIO. 
 
 The Helmet of Pyrrhus. A celebrated gem, long known under the 
 above appellation. The engraving is Greek work, and the stone is 
 unique, being a combination in two separate layers of red jasper and 
 plasma or chrysolite. 
 
 B. INTAGLIO. 
 
 Head of a young man. Greek work of the epoch of Pyrgoteles. 
 Engraved on beryl in very low relief, 
 c. INTAGLIO. 
 
 Head of a young man. Greek work, on an opaque black jasper. 
 
 D. INTAGLIO. 
 
 Victory writing on a Shield. Amethyst. Greek work. 
 
 164 SIXTEEN CAMEOS. 
 
 Antique Greek and Roman epochs. Of these, A, B, c, D, and E are the 
 most noteworthy. A is from Egypt. 
 
 165 TWENTY-EIGHT INTAGLIOS. 
 
 Antique Greek and Roman. 
 
 166 Thirteen Antique Greek and Roman Cameos. 
 A. CAMEO. 
 
 Head of Tiberius. In limestone, enamelled with the Egyptian green 
 cupreous glaze. Recently found in Egypt. 
 
n8 
 
 GALLERY II. 
 
 B. CAMEO. 
 
 Onyx. Europa. Green work, obtained from Egypt. This is an 
 unfinished work showing the method or progress of cameo-cutting in 
 antiquity. 
 
 c. CAMEO. 
 
 Head of Medusa. Grseco-Roman work, in its original gold setting. 
 The material is green glass paste in imitation of emerald. 
 
 167 Nineteen Antique Greek and Roman Cameos. The most important are : — 
 
 a. CAMEO. 
 
 Head of Medusa. 
 
 b. CAMEO. 
 
 Head of Tiberius. 
 
 c. CAMEO. 
 
 Head of Drusus (?) 
 
 168 FORTY-ONE INTAGLIOS. 
 
 Antique Greek and Roman. 
 
 169 TWELVE SCARAB^EI. 
 
 Early Greek and Roman. 
 
 170 TEN SCARABS. 
 
 Early Greek and Etruscan. 
 
 171 ELEVEN RINGS. 
 
 Antique Greek and Roman. In their original state as found. 
 
 172 TEN RINGS. 
 
 Antique Greek and Roman. In their original state as discovered. Of 
 these, A was found in the Greek island of Milo, in the place where the 
 marble statue known as the Venus of Milo had previously been found. 
 It is of Greek work, and in its original gold mounting. 
 
 173 TEN CAMEOS. 
 
 Chiefly of the i6th and 17th centuries. 
 
 174 TEN CINQUE-CENTO CAMEOS AND INTAGLIOS. 
 
 175 THIRTEEN CAMEOS. 
 
 Chiefly of Italian origin, of the 16th and 17th centuries. 
 
 176 THIRTY-TWO CAMEOS AND INTAGLIOS. 
 
 Of various origin, 16th, 17th, and 18th centuries. 
 
GALLERY I. 119 
 
 Case F. In Gallery I. 
 
 Zttt&tCoHa ^x$uxtz from (Breece. 
 
 (pout ®.C. 300. 
 Lent by WILLIAM ROME, Esq., F.S.A., C.C. 
 Top Shelf. 
 
 1 Cupid on Eagle. from Anthedon. 
 
 2 Two Cupids, flying and beating cymbals. ,, Tanagra. 
 
 3 Woman walking, her mantle (peplos) used as a hood, over which is placed a 
 
 large sun-hat. from Tanagra. 
 
 4 Woman running and carrying another upon her back (the penalty for the 
 
 loss of a game). 
 
 5 Matron (possibly Demeter) seated, her mantle used as a hood. 
 
 6 Youthful Eros (Cupid) flying and holding lyre. from Athens. 
 
 7 Woman seated on rocks, her hair enveloped in the sakkos. ,, Tanagra, 
 
 8 Woman standing ; her head encircled by a twisted wreath or diadem. 
 
 from Anthedon. 
 
 9 Woman walking ; she holds a writing table, and has her head covered with 
 
 her mantle, and wears a large circular sun-hat. from Anthedon. 
 
 10 Girl flying ; she holds a patera with fruit, and wears a short tunic. 
 
 from Anthedon. 
 
 H Woman standing, her mantle fallen to the waist. ,, Tanagra. 
 
 12 Woman standing. Anthedon. 
 
 Middle Shelf. 
 
 13 Europa carried away by bull ( Jupiter). from Corinth. 
 
 14 Two girls kneeling and playing at the game of Astragalos. ,, Tanagra. 
 
 15 Woman, wearing curious head-dress, and with her hands clasped together 
 
 under her mantle. from Ta?iagra. 
 
 16 Female with amphora, standing before funereal stele. ,, Eretria. 
 
 17 Winged figure (Eros) holding lyre. ,, Eretria. 
 
 18 Two females in conversation seated upon a cippus. ,, Tanagra. 
 
 19 Cupid in car drawn by two geese. ,, Tanagra. 
 20-21 Two Erotes (Cupids) flying ; one holds a lyre, the other a mirror-case. 
 
 from Eretria. 
 
 22 Thalia, the muse of Comedy, seated on rocks, and regarding a comic 
 mask. from Tanagra. 
 
120 
 
 GALLERY I. 
 
 23 Aphrodite (Venus) lying on a couch (Kline), at the head 
 
 of Eros (Cupid). 
 
 24 Woman kneeling, as if playing with astragaloi. 
 
 25 Woman standing, wearing peplos and himation. 
 28 Old woman seated and nursing a child. 
 
 27 Eros asleep on back of lion. 
 
 Antique Q^ron^e -§i$uxeB. 
 
 EGYPTIAN. 
 
 28 Ra, the sun-god. 
 
 29 Osiris, mummiform, holding crook and flail. 
 
 30 Isis nursing her son, Horus. 
 
 31 The goddess Nit or Neith (the necklace of inlayed gold). 
 
 ETRUSCAN. 
 
 32 Archaic figure of Apollo ? 
 
 ROMANO-ETRUSCAN. 
 
 33 Vertumnus holding a basket of fruits. 
 
 34 Hercules standing and wearing the Nemaean lion's skin. 
 
 ASIATIC GREEK. 
 
 35 Aphrodite standing. 
 
 GR^CO-ROMAN. 
 
 38 Terminal ornament with janiform heads of Satyr and Nymph. Found 
 at Torre del Greco. 
 
 37 Jupiter Conservator. 
 
 ROMAN. 
 
 38 Mercury, wearing winged diadem, and holding purse. 
 
 39 Boy holding cornucopia. 
 
 FLORENTINE, 15th Cent. 
 
 40 Boy seated and picking thorn from foot. 
 
 41 1 6th Cent. Dionysos (Bacchus). 
 
 42 Horse. 
 
 43-44 17th Cent. Replicas of the celebrated statues of the Venus de Medici 
 at Florence and the Antinous at Naples. 
 
 Note. — The Guildhall Museum containing some fine examples of 
 Roman and Medieval remains, chiefly found in the City of 
 London, can he approached through the Library — where 
 will also be found a collection of the Medals struck by the 
 Corporation and Master's Badges of several of the Livery 
 Coinpanies — together with an interesting exhibition of 
 Clocks and Watches belonging to the Clockmakers 
 Company. 
 
 of which a figure 
 from Tanagra. 
 ,, Tanagra. 
 ,, Tanagra. 
 ,, Tanagra. 
 Tanagra. 
 
^nU)c of <Confrt6ufot0 + 
 
 HER MAJESTY THE QUEEN, 1 25, I2J. 
 
 AIRD, JOHN, ESQ,, M.P., J2 
 ARMITAGE, BENJAMIN, ESQ., 1 9, 
 
 25 
 
 ARMSTRONG, LORD, C.B., 22 
 
 BAKER, W. Y., ESQ., 4, 1 7 
 BALDWIN, EDWARD J., ESQ., 50 
 BEAUMONT, SOMERSET, ESQ., 69 
 BOUSSOD, VALADON AND CO., 
 
 MESSRS., 62 
 BRASSEY, LORD, 37 
 BUNTEN, JAMES C, ESQ., 26 
 BURTON, LORD, 73, 76, 84, 88 
 BUTLER, CHARLES, ESQ., 48, 1 10, 
 
 126 
 
 CAINE, W. S., ESQ., M.P., 43, 90 
 CANZIANI, MME. LOUISA STARR, 46 
 CLEMENT, CHARLES G., ESQ., 86 
 COLNAGHI, MARTIN H., ESQ., 96, 
 130 
 
 COOK, SIR FRANCIS, BART., 94, 98, 
 IOO, 101, 102, IO4, 105, 107, 
 I08, II4 
 COWAN, JAMES, ESQ., M.P., 83 
 CRAWFORD AND BALCARRES, 
 EARL OF, II3 
 
 DAVIES, COLONEL H. D., ALD., 85 
 DICKSON, W., ESQ., 20 
 DUFFERIN AND AVA, H.E., THE 
 MARQUESS OF, 82 
 
 EAST, ALFRED, R.L, ESQ., 39 
 ERHARDT, H. C, ESQ., 1 29 
 
 FIELDEN, MRS., 14 
 
 FLETCHER, BANISTER, ESQ., Il6 
 
 FLORENCE, HENRY L., 63 
 
 GALLOWAY, CHARLES J., ESQ., 89 
 GASSIOT, CHARLES, ESQ., 64 
 
122 
 
 INDEX OF CONTRIBUTORS. 
 
 GLASGOW, CORPORATION OF, 33 
 GOLDSMID, SIR JULIAN, BART., 
 
 M.P., 52 
 GOLDSMITH, WALTER, ESQ., 7 1 
 GOODEN, STEPHEN T., ESQ., 42 
 GURNEY, GEORGE, ESQ., 8, IO 
 
 HARDINGE, WILLIAM M., ESQ., 45 
 
 HARRIS, C. T., ESQ., 34 
 
 HARVEY, WILLIAM, ESQ., IO9, III, 
 
 122, I3S 
 HICKLIN, A., ESQ., 32 
 HILLINGDON, LORD, 78, 80 
 HOLFORD, CAPTAIN, 120 
 HOLLAND, STEPHEN G., ESQ., 49, 
 
 66 
 
 HOULDSWORTH, JAMES, ESQ., 3 1 
 HUNTER, COLIN, ESQ., A.R.A., 1 8 
 
 ISMAY, T. H.j ESQ., 47 
 
 KERR, CHARLES H., ESQ., 9 
 KING, GRAHAM, ESQ., 30 
 
 LAWRENCE, SIR JAMES CLARKE, 
 
 BART, ALD., 74 
 LEATHAM, E. A., ESQ., J.P., 1 6, 59, 
 
 95, 99, 103, i° 6 , 112, 117, 
 
 123, 128, 132, I33 
 
 LEES, CHARLES E., ESQ., EXECU- 
 TORS OF, 21 
 LEICESTER, CORPORATION OF, 5 
 LIVERPOOL, CORPORATION OF, 35 
 
 MAIDSTONE MUSEUM, 60 
 MANCHESTER, CORPORATION OF, 
 28 
 
 MANN, ALEXANDER, ESQ., 23 
 
 MASH AM, LORD, 77 
 
 MCCULLOCH, G., ESQ., I, 12, 24, 
 
 27, 40, 54, 7o 
 
 MILDMAY, SIR HENRY ST. JOHN, 
 
 BART., I36, I37 
 MORGAN, J. PIERPONT, ESQ., 1 5 
 MORRISON, ALFRED, ESQ., 38 
 
 NATHAN, MRS., 67, 92 
 NORTHBROOK, EARL OF, 1 1 9, 121 
 
 PALMER, ALFRED, ESQ., 2 
 PEASE, SIR JOSEPH, BART, M.P., 53, 
 
 75 
 
 PENDER, SIR JOHN, 57, 79 
 
 QUILTER, W. CUTHBERT, ESQ., 
 M.P., 44 
 
 RAE, GEORGE, ESQ., 4 1 
 ROBERTS, HUMPHREY, ESQ., 3, 6, 
 
 55 
 
 ROBINSON, SIR CHARLES, page IOI 
 
 rome, w., esq., 1 24 (and page 119) 
 
 RUTLEY, COL., J , L. I3I 
 
 SALAMAN, MYER, ESQ., 65 
 SHAW, GEORGE, ESQ., 9 1 
 
INDEX OF CONTRIBUTORS. 
 
 SPENCER, EARL, K.G., 1 34 
 STRATHERN, R., ESQ., 6 1 
 
 TATE, HENRY, ESQ., J.P., 29, 87 
 TURNER, H. J., ESQ., II, 51, 56, 
 8l 
 
 WANTAGE, LORD, II5, Il8, I38 
 
 WATSON, W. CLARENCE, ESQ., 7 
 WEDGWOOD, MRS., 68 
 WHARNCLIFFE, THE EARL OF, 58 
 WILLIAMS, J. C, ESQ., 36 
 
 YORKE, CAPTAIN THE HON. J. 
 
 MANNERS, R.N., 93, 97 
 ZIMMERMAN, H., 1 3 
 
^nUjc of QXttxttB* 
 
 BAYREN, JAN, ANTON VAN DER, 
 IOI 
 
 BERGHEM, NICHOLAS, 98, 106, 120 
 BERKHEYDEN, JOB, IO5 
 BOONEN, ARNOLD VAN, 1 28 
 BRAMLEY, FRANK, A.R.A., 38 
 BREANSKI, ALFRED DE, R.B.A., 30 
 BURNE-JONES, SIR E., BART., 
 
 R.W.S., 42 
 BURTON, W. S., 82 
 
 CANZIANI, MME. LOUISA STARR, 46 
 CAPPELLE, JAN VAN DER, 102, 
 
 Il8, 132 
 CLAUSEN, GEORGE, A.R.A., I, 63 
 COLE, VICAT, R.A., 37 
 CRESWICEv, THOMAS, R.A., 67 
 CROME, JOHN, 78 
 CUYP, ALBERT, 1 1 3, 1 35 
 
 DAVIS, H. W. B., R.A., 1 7 
 DE HEEM, J. D., 99, IO3 
 DICKSEE, FRANK, R.A., 66 
 DICKSON, WILLIAM, 20 
 DOW, GERARD, 108 
 
 EAST, ALFRED, R.I., 39 
 EVERDINGEN, CESAR VAN, IO9 
 
 FAED, THOMAS, R.A., 87 
 FORBES, STANHOPE A., A.R.A., 12 
 FORBES, MRS. STANHOPE, 70 
 FRIESE, RICHARD, 50 
 FRITH, W. P., R.A., 14, 88, 92 
 FROST, W. E., R.A., 59 
 
 GfeROME, JEAN LEON, H.R.A., 51, 
 
 54, 56, 57. 
 
 GILBERT, SIR JOHN, R.A., P.R.W.S., 
 4 
 
 GOLDSMITH, WALTER, 7 1 
 GOODALL, FREDERICK, R.A., 34 
 GOODWIN, ALBERT, R.W.S., 60 
 GORDON, SIR J. WATSON, R.A., 9 1 
 GOW, A. C, R.A., 29 
 GO YEN, JAN VAN, 95 
 GRAHAM, PETER, R.A., 1 9 
 GREGORY, E. J., A.R.A., 89 
 
 HAANEN C. VAN., 8 1 
 HEMY, C. NAPIER, 40 
 
INDEX OF 
 
 HOOK, J. C., R.A,, 3 
 HUNT, A. W., R.W.S., 43 
 HUNTER, COLIN, A.R.A., 1 8 
 HUNT, W. HOLMAN, R.W.S., 44 
 
 KERR, CHARLES H., 9 
 
 LANDSEER, SIR EDWIN, R.A., 76, 
 77 
 
 LAVERY, JOHN, R.S.A., 6 1 
 LEADER, B. W., A.R.A., 65 
 LEIGHTON, SIR F., BART., P.R.A., 
 
 24, S3, 85 
 
 LESLIE, G. D., R.A., 31 
 LINGELBACH, J., 117 
 LEWIS, J. F., R.A., 49, 55 
 LOGSDAIL, WILLIAM, 1 1 
 LORME, ANTON DE, 117 
 
 MA AS, NICHOLAS, 133 
 
 MANN, A., 23 
 
 MASON, G. H., A.R.A., 68 
 
 MCWHIRTER, J., R.A., 25 
 
 MEER, JAN VAN DER, 1 27 
 
 METSU, GABRIEL, 1 2 1, 122, 1 25 
 
 MILLAIS, SIR J. E., BART., RA., 22, 
 
 26, 36, 
 MINSHULL, R. T., 90 
 MONTALBA, MISS CLARA, R.W.S., 72 
 MOORE, HENRY, R.A., 6 
 MORLAND, GEORGE, 80 
 MORRIS, P. R., A.R.A., 32 
 MURRAY, DAVID, A.R.A., 33 
 
 NEER, A. VAN DER, 96, I30, I38 
 
 ARTISTS. I25 
 
 O'NEIL, HENRY, A.R.A., 1 6 
 ORCHARDSON, W. Q., R.A., 73 
 
 PATON, SIR J. NOEL, R.S.A., 83 
 PHILLIP, JOHN, R.A., 79, 84 
 POYNTER, E. J., R.A., 75 
 PRINSEP, VAL C, R.A., 28 
 PYNAKER, ADAM, 1 36 
 
 RAVESTEIJN, JAN A. VAN, 1 24 
 REMBRANDT, VAN RHYN, IOO, I29, 
 134 
 
 REYNOLDS, SIR JOSHUA, P.R.A., 93, 
 97 
 
 RIVIERE, BRITON, R.A., 7 
 ROMEYN, W. VAN, 1 26 
 ROSSETTI, D. G., 41, 47, 48 
 ROSSETTI, MRS. W. M., 45 
 RUISDAEL, JACOB VAN, 94, 112 
 
 SEGHERS, DANIEL, 131 
 SLINGELANDT, PETER VAN, 1 23 
 SOLOMON, SOLOMON J., 35 
 STEEN, JAN, II9 
 STOREY, G. A., A.R.A. 1 5 
 STRUDWICK, J. M., 58 
 SWAN, J. M., A.R.A., 62 
 
 TADEMA, L. ALMA, R.A., 52, 64 
 TENIERS, DAVID, II5 
 TERBURG, GERARD, 107, III 
 
126 
 
 INDEX OF ARTISTS. 
 
 VELDE, WILLIAM VAN DE, I IO, 1 1 4 
 
 WALKER, FREDERICK, A.R.A., 69 
 WALLIS, HENRY, 86 
 WATERHOUSE, J. W., A.R.A., 21 
 WATTS, G. F., R.A., 5 
 
 WOOD, MISS E. STEWART, 27 
 WOODS, HENRY, R.A., 2, 8 
 WOUWERMAN, PHILIPS, IO4 
 WYBURD, LEONARD, 74 
 WYLLIE, W. L., A.R.A., IO 
 WYNANTS, JAN, 1 37 
 ZIMMERMAN, H., 1 3 
 
An Investment and a Beautiful Book. 
 
 Modern 
 (BUiglish Srt : 
 
 Twenty-five Reproductions of a 
 selection of Pictures Exhibited at the 
 Loan Collection, Guildhall, 1895. 
 
 LONDON, E.C. 
 BLADES, EAST & BLADES. 
 
 f 
 
 ONSIDERING the magnificent 
 results now attained by Photo- 
 graphic Reproduction, it would 
 be a great misfortune not to take 
 this opportunity of obtaining for 
 the general public examples of some of the finest 
 Pictures produced in this century. The Publishers 
 have obtained permission for Millais' Rosalind 
 and Celia, Watts Fata Morgana, and other fine 
 pictures, some of which, being now reproduced 
 for the first time, will undoubtedly in a very short 
 time be exceedingly valuable, owing to the very 
 limited edition it is intended to issue. The 
 previous volume produced of the last Exhibition, 
 " Masterpieces of Art," was a great success, 
 principally due to the splendid Collotype Repro- 
 ductions, every copy having been sold. 
 
 The letterpress portion, and every detail in 
 the "get up" of the volume, will receive very 
 
careful attention, every effort being made to 
 render the book worthy of the subject. 
 
 Many thanks are due to owners of the Pictures 
 and Copyrights, the Library Committee of the 
 Corporation of London for their kind permission 
 to reproduce, and the Art Director of the Gallery, 
 who will make the selection of the Pictures and 
 contribute the descriptions. 
 
 Japanese (geffum &btt\on. Not more than 
 
 Twenty-five copies will be specially printed, with 
 extreme care, on Japanese Vellum Paper, numbered 
 and signed, in special binding. Size, Imperial 4to., 
 i5}4 x 13 in. Price £3 35. nett. 
 
 Hdtge (f)d}>er 45btftOtt- Not more than One 
 hundred and fifty copies will be printed on best 
 Hand-made Paper, and the impressions of the 
 Plates will be carefully selected. The volume 
 will be Imperial 4to., i5}4 x 13 in., handsomely 
 bound in cloth, and the cover will be specially 
 designed. The design for the cover of last years 
 volume has been accepted by the Royal Academy, 
 and is hung on the line at the present Exhibition. 
 Price £2 2,s. nett. 
 
 Copies of the above editions will be supplied to 
 Subscribers only, so that no copies will be obtainable 
 after the List closes. 
 
 <Dtbttt4fg (SbtfiOtt. This edition will consist 
 of not more than Four hundred copies, Royal 4to., 
 12^ x 10 in. It will be published at £2 2s. nett, 
 and is offered to Subscribers, before publication, 
 at £l is. nett. 
 
 May, 1895. 
 
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List of 
 
 Pidhires in " Modern English Art." 
 
 No. in 
 Catalogue. 
 
 5 Orlando pursuing the Fata Morgana. 
 
 G. F. WATTS, R.A. 
 
 8 La Promessa Sposa. 
 
 Henry WOODS, R.A. 
 
 21 Circe 
 
 J. W. WATERHOUSE, A.R.A. 
 
 24 The Garden of the Hesperides. 
 
 Sir Frederic LEIGHTON, Bart., P.R.A. 
 
 26 Rosalind and Celia. 
 
 Sir J. E. MILLAIS, Bart., R.A. 
 
 28 At the Golden Gate. 
 
 Val C. PRINSEP, R.A. 
 
 42 Music. 
 
 Sir E. BURNE JONES, Bart., R.W.S. 
 
 45 Romeo and Juliet in the Vault 
 
 Mrs. W. M. ROSSETTI. 
 
 47 The Loving Cup. 
 
 D. G. ROSSETTI. 
 
 48 Proserpine. 
 
 D. G. ROSSETTI. 
 
 49 A Turkish School in the vicinity of Cairo. 
 
 J. F. LEWIS, R.A. 
 
 51 Bain Maure. 
 
 J. L. GEROME, H.R.A. 
 
 58 " My Beloved is gone down into his Garden, to the 
 Beds of Spices, to feed in the Gardens, and to 
 gather Lilies." 
 
 J. M. STRUDWICK. 
 
 61 Ariadne. 
 
 John LAVERY, R.S.A. 
 
 75 The Catapult. 
 
 E. J. POYNTER, R.A. 
 
 88 Dolly Varden. 
 
 W. P. FRITH, R.A. 
 
 The Names of the remaining nine Pictures will shortly 
 be announced. 
 
GETTY RESEARCH INSTITUTE 
 
 3 3125 01048 4273