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A Description of the 
 
 Sketch-book by Sir Anthony Van Dyck 
 Used by him in Italy 
 1621-1627 
 

 
 
 
 
A Description of the Sketch-book by 
 
 Sir Anthony Van Dyck 
 
 Used by him in Italy, 1621-1627 
 
 And preserved in the Collection of the 
 Duke of Devonshire, K.G. * 
 at Chatsworth 
 
 By Lionel Cust, m.v.o., f.s.a. 
 
 Director of the National Portrait Gallery, Surveyor of the King’s Pictures and 
 Works of Art, Chevalier of the Order of Leopold, etc. 
 
 London 
 
 George Bell and Sons 
 
 1902 
 
CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. 
 TOOKS COURT, CHANCERY LANE, LONDON. 
 
A Description of the 
 
 Sketch-Book by Sir Anthony Van Dyck 
 
 I N the priceless series of original drawings and sketches by 
 the Old Masters, which forms part of the rich collection 
 of works of art belonging to the Duke of Devonshire at 
 Chatsworth there are two sketch-books, containing pen-and- 
 ink sketches, attributed to the famous painter Sir Anthony 
 Van Dyck. 
 
 These two sketch-books are apparently almost exactly 
 similar, so far as the form of the book is concerned, and from 
 their juxtaposition in the collection have been assumed to be 
 companion volumes, and both containing sketches by the 
 same artist. 
 
 As a matter of faCt, the books contain sketches by two 
 entirely different artists, one being the work of the great and 
 world-famous Anthony Van Dyck, the other the work of an 
 inferior Flemish artist of a generation later, one Daniel Van 
 den Dyck, who made his home at Venice, where he painted 
 some fair pictures, executed some etchings in the decadent 
 Italian style, and at the same time aCted as art-direCtor and 
 curator at Venice and at Mantua. 
 
 There is nothing to conned the two sketch-books to- 
 
 B 
 
2 
 
 THE SKETCH-BOOK BY 
 
 gether, their similarity being due probably to both of them 
 having been purchased at Venice, and having eventually passed 
 into the same collection. 
 
 The sketches by Daniel Van den Dyck are not of a nature 
 to deserve any comment or excite any special interest. The 
 sketches in the other volume are, on the other hand, of the 
 highest artistic and historical value. They are indubitably the 
 work of Anthony Van Dyck, and they furnish the most precious 
 record of his sojourn in Italy during the years 1621-1627. 
 
 The history of the sketch-book is not difficult to trace, 
 even if there are occasional periods when assumption must 
 take the place of certain proof. 
 
 Sir Anthony Van Dyck died at his house in Blackfriars 
 on December 9, 1641. His wife, Mary Ruthven, had given 
 birth to a daughter a few days before, which child was baptized 
 on the very day of her father’s death. 
 
 The painter’s studio, with its contents, was left at the 
 mercy of his pupils and assistants. Subsequently petitions 
 were addressed to the Crown by his widow and daughter, 
 describing how the pictures and other effedts belonging to the 
 painter had been looted by persons who had no title to them, 
 and a great part of them removed across the sea to the Low 
 Countries. In the turmoil of the Civil War Lady Van Dyck 
 failed to obtain any redress. 
 
 In the remarkable colledtion of works of art made by the 
 famous painter, Sir Peter Lely, there were many paintings and 
 drawings by Van Dyck. There is no ground for supposing 
 that Lely was in anyway a party to the looting of Van Dyck’s 
 studio. He had only been a few months in London, and there 
 is nothing to show that he was ever a pupil or assistant in the 
 studio of Van Dyck. His shoulders were, however, the only 
 pair ready to receive the vacant mantle, and a study of Lely’s 
 early and best works would show that not only were his 
 portraits designed in the style of Van Dyck, but that he pos- 
 
SIR ANTHONY VAN DYCK 
 
 3 
 
 sibly acquired in some way or another some of the actual 
 fittings and paraphernalia of Van Dyck’s studio. 
 
 Among the drawings by Van Dyck acquired by Lely was 
 the aforesaid Italian sketch-book. After the death of Lely the 
 sketch-book appears to have passed either direCtly, or through 
 the collection of Lely’s pupil and assistant, Prosper Henricus 
 Lanckrinck, into the renowned collection of Hugh Howard, a 
 well-known amateur and artist. It is possible that some good 
 copies from the sketch-book, which are now in the Print Room 
 at the British Museum, may have been the work of Hugh 
 Howard himself. 
 
 Howard’s collections passed to his brother, the Bishop of 
 Elphin, and remained in the family of the Earls of Wicklow 
 until 1873, when they were dispersed. The Van Dyck sketch- 
 book must have been disposed of before, as it seems to have 
 been acquired by the Duke of Devonshire early in the 
 eighteenth century, that appearing to be the date at which the 
 collection of drawings at Chatsworth was formed. 
 
 At some time or another this sketch-book, and the similar 
 sketch-book by Daniel Van den Dyck, were removed from 
 Chatsworth, either borrowed and not returned, or perhaps 
 abstracted with evil intention. Nothing was heard of the 
 sketch-books, until early in the nineteenth century they turned 
 up in the possession of Samuel William Reynolds, the well- 
 known engraver. There is no reason to suppose that Reynolds 
 had obtained the sketch-books in any dubious way. In 1830 
 the two sketch-books were sold by Reynolds to George James 
 Welbore Agar-Ellis, Baron Dover, who, believing them both 
 to be the work of Anthony Van Dyck, had both books broken 
 up, interleaved, and bound in handsome red plush covers. 
 Lord Dover died in July, 1833, when the sketch-books passed 
 to his son, Viscount Clifden. The collection of pictures and 
 works of art formed by Lord Dover was sold by his grandson, 
 the fourth Viscount Clifden, in 1893, when the two sketch- 
 
4 
 
 THE SKETCH-BOOK BY 
 
 books were purchased by Mr. C. Fairfax Murray, who subse- 
 quently disposed of them to Mr. Herbert F. Cook. 
 
 It was then discovered that the two sketch-books were 
 identical with those which had been removed or abstracted 
 from the Library at Chatsworth, upon which Mr. Herbert 
 Cook at once ceded them to their rightful owner, the present 
 Duke of Devonshire, in order that they might be replaced in 
 their original position. 
 
 The sketch-book by Sir Anthony Van Dyck was lent by 
 the Duke of Devonshire to the Exhibition of the Works of 
 Van Dyck, held at Antwerp from August to October, 1899, to 
 celebrate the tercentenary of the painter’s birth. Many artists 
 and connoisseurs were then enabled to examine the sketch-book 
 for the first time. 
 
 The sketch-book is a small quarto volume, bound origin- 
 ally in white vellum. It contains 124 leaves, the pages having 
 a double numbering, the later numbering extending up to 125, 
 and including the inside of the cover at the end of the book. 
 There appears to have been an earlier numbering, which does 
 not tally with the later, and it would also appear that some 
 pages are missing, and others have at some time or other been 
 displaced. 
 
 Inside the cover is written in old characters “ Is : Bracken, 
 July i st,” which would appear to denote some former owner. 
 
 The watermark of the paper is the Imperial eagle with 
 the escutcheon on its breast. 
 
 The sketch-book is evidently that used by Van Dyck 
 during his travels in Italy, in which he recorded his memoranda 
 of the pictures which chiefly attracted his attention and excited 
 his admiration. Van Dyck left Antwerp in October, 1621, 
 and reached Genoa in the following November. In February, 
 1622, he went to Rome for a short time, and then journeyed 
 to Venice, stopping at Florence and Bologna on his way. 
 In the course of the same year he visited Mantua and Turin, 
 
SIR ANTHONY VAN DYCK 
 
 5 
 
 probably in the train of the Countess of Arundel, who was 
 at Turin in January, 1623. Soon after this date Van Dyck 
 returned to Rome for a few months, after which he again took 
 up his residence in Genoa. In the summer of 1624 he paid 
 a visit to Palermo, returning to Genoa, where he seems to 
 have continued to reside until 1627. 
 
 It is possible with confidence to assign the sketch-book to 
 the earlier part of Van Dyck’s Italian travels, since so many of 
 the sketches were done in Venice and at Rome. The drawing 
 of Sir Robert Shirley, the Persian ambassador, helps to fix a 
 date, as this embassy was present at Rome in 1623. The 
 majority of sketches in this book are from paintings by Vene- 
 tian artists, Titian, Giorgione, Paolo Caliari, and others, but 
 above all Titian, on whom Van Dyck’s style was so closely 
 modelled throughout life. Venice, Rome, and Genoa were all 
 well stocked with paintings of the mighty Venetian. The 
 sketches, however, show that it was not only the works of 
 Venetian artists which excited the interest of Van Dyck. 
 Raphael, Leonardo da Vinci, Guercino, and others all appear 
 on the pages of this book. One double page contains a series 
 of studies from the famous antique painting, discovered in 
 1606, representing a nuptial scene in classical days, formerly 
 preserved in the Palazzo Aldobrandini at Rome, and now in 
 the Galleries of the Vatican. 
 
 The sketch-book has evidently been the artist’s travelling 
 companion. There is no system in the arrangement of the 
 sketches. 
 
 The majority are made with a pen in a bistre-coloured ink, 
 heightened by the use of a brush in the same ink. Some 
 appear to have been made in light pencil outline, which has 
 almost faded, so that the sketches have, in certain cases, been 
 drawn over with a pen, probably by some later possessor of the 
 book, perhaps by Hugh Howard. A few rough sketches in 
 black lead pencil seem to be done by a later and inferior hand. 
 
6 
 
 THE SKETCH-BOOK BY 
 
 Many pages have notes of painters’ names, or other 
 memoranda written with a pen in brown ink, and apparently 
 by Van Dyck himself. These notes are represented by capital 
 letters in the following description. 
 
 The sketches are made on both sides of the page, some- 
 times extending across both pages of the open book. In the 
 following description, the leaves are numbered according to the 
 most recent numbering, and the drawings described as being 
 on the reCto (/?.) or verso [Vi) of the leaf accordingly. 
 
 Forty-seven pages, or double pages, have been selected 
 for reproduction, since it was not found possible to reproduce 
 the whole sketch-book in facsimile within the scope of the 
 present publication. 
 
SIR ANTHONY VAN DYCK 
 
 7 
 
 Description. 
 
 FOLIO 
 
 1. R. Pen-and-ink study of clouds and landscape. 
 
 V. Blank. 
 
 2. R. Pen-and-ink sketches of female heads ; and addresses. 
 
 (a) Andrea Visentino (?) a S. Barnaba sopra il bart (?). 
 
 ( b ) Don fabricio malguernero Dottore in Palermo. 
 
 {c) Benedetto (?). 
 
 (d) Jasinto. 
 
 ( e ) The artist’s own signature, An t0 Van Dyck. 
 
 V. Pen-and-ink drawing of the Holy Family; the Virgin 
 seated under a tree with the infant Christ asleep 
 on her knees, St. Joseph standing by her and 
 addressing her. 
 
 This sketch appears to be from a painting by 
 Paolo Veronese. A fine drawing of the same 
 composition, attributed to Paolo Veronese, but 
 perhaps only a copy from the painting, is in the 
 Print Room at the British Museum. 
 
 3. R. Sketch of the Virgin and Child traced in pencil over 
 
 the drawing on the Verso ; below are pencil 
 sketches of saints or donors. 
 
 V. Pen-and-ink drawing of the Virgin and Child, in- 
 scribed “TITIANO.” 
 
 These sketches appear to be taken from Titian’s 
 great painting in the Church of the Frari at 
 Venice, known as the Madonna of the Pesaro 
 family. 
 
 4. R. Pen-and-ink drawing of the Virgin and Child, in- 
 
 scribed “ PENSIERI DE TITIAN.” 
 
 V. Pen-and-ink drawing of the Infant Christ asleep, and 
 of St. John the Baptist with a lamb, inscribed 
 “leo do da vinci j.” 
 
THE SKETCH-BOOK BY 
 
 8 
 
 FOLIO 
 
 Taken from the famous painting of the Virgin and 
 Child with St. Anne, by Leonardo da Vinci. 
 This painting was then at Milan ; it was pur- 
 chased in 1629 by Cardinal Richelieu and is 
 now in the Louvre at Paris. 
 
 5. R. Pen-and-ink sketch (in black ink) of the Holy Family, 
 
 or the Repose in Egypt, inscribed above “in 
 MILANO DE RAFAELLE.” 
 
 The painting from which this sketch was taken 
 was the well known Rifioso, generally ascribed 
 to the hand of Raphael. The picture, formerly 
 in the collection of S. Carlo Borromeo, was at 
 this date in the Church of S. Maria presso San 
 Celso in Milan, whence it was purchased in 1779 
 for the Imperial Collection at Vienna, where it 
 now hangs in the Imperial Picture Gallery. 
 
 V. Sketches in pen and ink, washed with sepia. 
 
 (a) The Virgin and Child with a youthful saint, in- 
 
 scribed “ TITIANUS.” 
 
 (b) The Virgin and Child seated before a column, 
 
 inscribed “caratio." 
 
 6. R. St. Mary Magdalene, kneeling in penitence before 
 
 a balustrade with two angels, one of whom 
 points to the sky, where two cherubim are seen. 
 Inscribed “da cento.” From a painting by 
 Guercino in the Vatican Gallery at Rome. 
 
 V. (a) The Holy Family, with a female saint in rich dress 
 offering flowers or fruit to the Infant Christ, 
 in a landscape, inscribed “titiano.” 
 
 [b) The Annunciation. 
 
 7. R. (a) Pen-and-ink sketch of a group of sleeping cupids, 
 
 inscribed “ l’estate la primavera e l’in- 
 verno.” [Plate I.] 
 
 This group is taken from the famous painting of 
 
FOLIO 
 
 SIR ANTHONY VAN DYCK 
 
 9 
 
 The Three Ages, by Titian, the principal version 
 of which is in the collection of the Earl of 
 Ellesmere at Bridgewater House, and others in 
 the Doria and Borghese Galleries at Rome. 
 Van Dyck may, however, have seen the version 
 formerly in the Manfrin Gallery at Venice. 
 
 (b) The Annunciation, inscribed “titiano.” 
 
 A picture, similar to this, is among the works of 
 Titian at Venice engraved by V. Lefebvre. 
 
 A. Five pen-and-ink sketches from daily life in 
 Venice. 
 
 (a) A woman in mask and domino, inscribed “ cor- 
 
 TISANA DE VENETIA. 
 
 (b) A woman with a shawl over her head, inscribed 
 
 “donna ordinaria.” 
 
 (e) A woman similarly dressed, inscribed “cibella.” 
 (< d ) A girl carrying water-pots. 
 
 (<?) A gondolier. 
 
 8. R. Pen-and-ink sketches, washed with sepia, of richly 
 
 dressed figures from Venetian life, with notes 
 of colours in Italian. 
 
 V. ] Double page sheet of sketches in pen and ink (appar- 
 
 9. R. J ently traced over drawings in reddish chalk) of 
 
 the Virgin and Child, the Holy Family, etc., 
 inscribed “pensieri de titiano” and “titian,” 
 the latter repeated three times. [Plate II.] 
 
 V. The Virgin and Child, drawn in pen and ink, in- 
 scribed “titian,” a beautiful drawing. [Plate 
 III.] 
 
 10. R. Drawing, in reddish chalk, of a group of the Apostles, 
 
 probably from a painting of The Ascension or 
 The Assumption of the Virgin 
 V. ) Double page of pen and ink sketches. 
 
 11. R. J(tf) The Virgin and Child. 
 
 c 
 
IO 
 
 FOLIO 
 
 V. 
 
 12. R. 
 
 V. 
 
 13. R. 
 V. 
 
 14. R. 
 V. 
 
 15 - R. 
 V. 
 
 16. R. 
 
 THE SKETCH-BOOK BY 
 
 (< b ) A large composition, drawn in black ink, of the 
 Virgin and Child with saints and a donor. 
 
 This is a “ Sacra Conversazione ” in the style of 
 Palma Vecchio. 
 
 (a) The Virgin and Child and two youthful saints. 
 
 (b) Head of a young saint. 
 
 Pen-and-ink sketches. 
 
 (< a ) St. John the Baptist with a cross. 
 
 (b) The Virgin and Child with St. Catherine, in- 
 scribed “TITIAN.” 
 
 (a) Venice and a Lion, inscribed “venetia sedente 
 
 con suoi leoni.” 
 
 From a painting by Paolo Veronese in the Ducal 
 Palace at Venice. 
 
 (b) Slight sketch of a child. 
 
 Pen drawing, in black ink, of the Virgin and Child 
 with a female saint, inscribed “ parmesan.” 
 
 Five sketches from the Martyrdom of St. Ursula (?). 
 One of the faces is noted as “ pallida di 
 colore.” 
 
 Sketch of the Adoration of the Shepherds, and part 
 of a child’s body, inscribed “titian.” 
 
 Sketches of men kneeling, inscribed “ scalzi (?) titian. ” 
 
 Perhaps from a painting in the Church of Gli 
 Scalzi at Venice. 
 
 Sketches of the Virgin, and the Virgin and Infant 
 Christ. 
 
 The Evangelist Matthew listening to an angel and 
 adored by two donors, a husband and wife, 
 inscribed “titian.” [Plate IV.] 
 
 St. Sebastian and three angels, one of whom is 
 extracting an arrow from the saint’s body. 
 [Plate IV.] 
 
 This became a favourite subjedt with Van Dyck, 
 
SIR ANTHONY VAN DYCK n 
 
 FOLIO 
 
 who painted more than one version of this 
 composition. 
 
 V. The Virgin and Child (in the style of Parmegiano). 
 
 Against a light on the Child’s head is the in- 
 scription “QUESTO LUME E IE PIU CHIARO.” 
 
 17. R. The Holy Family with a saint, or donor, a pen-and- 
 
 ink drawing, washed with sepia, inscribed 
 “titian.” [Plate V.] 
 
 V. The Holy Family. 
 
 18. R. Judith and Holofernes (?), slight sketch of a woman 
 
 covering a headless body. 
 
 V. The Holy Family with St. Catherine before an arcade, 
 inscribed “titian,” with notes of colours in 
 Italian. [Plate VI.] 
 
 19. R. Pen-and-ink sketch of Jacopo Pesaro, Bishop of 
 
 Paphos, presented to St. Mark by Pope 
 Alexander VI., inscribed “ titian,” with notes 
 of colours in Italian. [Plate VII.] 
 
 This is a sketch from the famous picture by Titian 
 known as Baffo, which shortly after Van Dyck 
 saw it in Italy passed into the collection of 
 Charles I. It is now in the Pidture Gallery 
 at Antwerp. 
 
 V. 1 Double page sheet of drawings representing a prisoner 
 
 20. R. j screaming, a soldier on horseback, a criminal 
 
 about to suffer death, and an Oriental on horse- 
 back, with an inscription in Flemish. 
 
 V. ( a ) Christ bearing the Cross, with executioners, drawn 
 in pen and ink, and inscribed “giorgion.” 
 
 This drawing is taken in reverse from the well- 
 known painting in the Chiesa di San Rocco at 
 Venice, which is generally accepted as the work 
 of Giorgione. 
 
 ( b ) Two sketches in pen and ink, washed with sepia, 
 
12 
 
 FOLIO 
 
 THE SKETCH-BOOK BY 
 
 representing the Man of Sorrows, both inscribed 
 “ TITIAN.” 
 
 This subjedt was used by Van Dyck in more than 
 one of his paintings. [Plate VIII.] 
 
 21. R. Sheetofsketchesin penand ink, somewashed withsepia. 
 
 (a) The Mocking of Christ, inscribed “ caratio.” 
 
 (b) The Man of Sorrows, inscribed “titian.” 
 
 (c) Christ Tortured, inscribed “titian.” 
 
 (d) The Man of Sorrows with two executioners, in- 
 
 scribed “titian.” [Plate IX.] 
 
 Of these (c) represents the figure of Christ in the 
 painting by Titian, now in the Louvre at Paris, 
 used by Van Dyck in his great paintings of Christ 
 crowned with Thorns at Munich and Berlin. 
 
 V. The Man of Sorrows, two studies in pen and ink. 
 
 22. R. (a) Christ bearing the Cross, inscribed “titian.” 
 
 (b) Christ sinking under the Cross, drawn in pencil. 
 
 V. ] Double page of sketches in pen and ink. 
 
 23. R. j(a) Christ bearing the Cross with two executioners, 
 
 inscribed “ fray sebastiano de piombo.” 
 This drawing is taken from the painting by Sebas- 
 tiano del Piombo now in the Hermitage Gallery 
 at St. Petersburg. 
 
 (b) “ Noli Me Tangere.” Christ appearing to St. Mary 
 Magdalen in the garden, inscribed “titian.” 
 This composition records the complete painting 
 by Titian, of which a fragment, the head of 
 Christ, alone remains in the Prado Gallery at 
 Madrid, the remainder having been destroyed 
 by fire. [Plate X.] 
 
 V. (a) The Virgin lamenting over the Body of Christ, 
 inscribed “titian.” 
 
 (b) Christ insulted by soldiers, inscribed “ genti- 
 leschi.” 
 
SIR ANTHONY VAN DYCK 
 
 13 
 
 FOLIO 
 
 24. R. The Betrayal of Christ, pen and ink drawing, in- 
 
 scribed “titian.” [Plate XI.] 
 
 This composition was used by Van Dyck more 
 than once, in a drawing engraved by P. Soutman, 
 and in the three important paintings of The 
 Betrayal of Christ in the collections of Sir 
 Frederick Cook, Bart, and Lord Methuen, and 
 in the Prado Gallery at Madrid. It has been 
 generally assumed that the great paintings of 
 this subject by Van Dyck were completed before 
 the painter’s visit to Italy, but the appearance 
 of this composition in this sketch-book would 
 point to the original painting by Van Dyck 
 having been completed in Italy, probably during 
 his first year of residence. 
 
 V. ^Mounted soldiers in a river. 
 
 25. R. | This composition and that on the following pages 
 
 are copied direct by Van Dyck from the great 
 woodcut designed by Titian of Pharaoh over- 
 whelmed in the Red Sea. 
 
 V. ) A similar group of mounted soldiers. 
 
 26. R. j This sketch is inscribed “pordenon,” but the 
 
 composition is certainly copied from the afore- 
 said woodcut by Titian. 
 
 V. Three studies of horses. 
 
 27. R. Studies of horses, pen-and-ink drawing, inscribed 
 
 “titian.” [Plate XII.] 
 
 (a) A horse biting its knee. 
 
 (&) Two horses harnessed to a chariot. 
 
 V. (a) Pen-and-ink studies of stags. 
 
 (p) A goat fighting a ram. 
 
 28. R. Studies for a slaughter of women and children (The 
 
 Massacre of the Innocents?), inscribed “ gior- 
 
 GION.” 
 
THE SKETCH-BOOK BY 
 
 H 
 
 FOLIO 
 
 V. [a] The Virgin and Child, with a donor. 
 
 ( b ) St. Joseph. 
 
 29. R. (a) Christ at the gate of the Temple, sketch in sepia. 
 
 This is taken from the engraving by Marc Antonio 
 Raimondi. 
 
 V. ] Double page sheet of sketches in pen and ink and 
 
 30. R. J sepia for The Last Sapper. 
 
 The principal sketch is taken from the famous 
 engraving by Marc Antonio Raimondi after a 
 drawing by Raphael. The original drawing is 
 in the Royal Collection at Windsor Castle. 
 [Plate XIII.] 
 
 V. ] Double page sheet of studies in pen and ink. 
 
 31. R. J These sketches appear to be taken from the Dis- 
 
 puta del Sacramento by Raphael in the Vatican 
 at Rome. 
 
 32 . 
 
 33 - 
 
 34 - 
 
 35 - 
 36. 
 
 •Similar studies from the frescoes in the Vatican. 
 
 V.\ 
 
 R. 
 
 v, 
 
 R. Blank. 
 
 V. Sketch of a statue of Diogenes. 
 
 Missing. 
 
 Blank. 
 
 R. “ Le RespedtS ) Pen and ink sketches from paint- 
 
 V. “ L' InfidelitdS j ings by Paolo Veronese. 
 
 These two paintings formed part of a set of four 
 which formerly adorned the ceiling of a palace 
 at Venice. They subsequently passed into the 
 collection of Queen Christina of Sweden, and 
 thence into that of the Due d’Orleans at Paris. 
 At the sale of the Orleans Gallery, they were 
 purchased by the fourth Earl of Darnley, and 
 remained at Cobham Hall until 1890, when 
 they were acquired from the sixth Earl of 
 
FOLIO 
 
 37 - 
 
 38. 
 
 39 - 
 
 40. 
 
 41. 
 
 42. 
 43 - 
 
 SIR ANTHONY VAN DYCK 15 
 
 Darnley for the National Gallery. [Plates 
 
 XIV., XV.] 
 
 Blank. 
 
 7 ?. A goddess (Venice ?) kneeling, and attended by 
 Cupids. 
 
 V. Venice (?) as protectress of the sick and wounded, 
 inscribed “Veronese.” 
 
 R. The Arts and Sciences. 
 
 V. A prophet seated, with a female figure near him, 
 inscribed (in a later hand) “ paolo Veronese 
 NEL PALAZZO DEL SENATO A VENEZIA.” 
 
 R. Slight pen sketches and an inscription, “ la virtu 
 
 CACCIA LI VITIJ COL FIELE.” 
 
 V. Christ appearing to a crowd of people. 
 
 The sketches on folios 38, 39, 40, seem to be taken 
 from the paintings by Paolo Veronese on the 
 ceilings of the Ducal Palace at Venice. 
 
 R. Blank. 
 
 V. St. James holding a pilgrim’s staff, inscribed “titian.” 
 This is taken from the painting by Titian still in 
 the Church of S. Lio at Venice. 
 
 R. Blank. 
 
 V. ] Double page sheet of pen and ink sketches from the 
 
 R. j woodcut by Titian of Pharaoh overwhelmed in 
 the Red Sea. (See folios 25 and 26.) 
 
 It is particularly noteworthy in this sketch, that 
 the figure of a young man in a cap on horseback, 
 drawing his sword, appears to have suggested 
 to Van Dyck the figure of St. Martin in his 
 well-known composition of St. Martin dividing 
 his Cloak , different versions of which are in the 
 collection of Capt. Holford at Dorchester 
 House, the Church of Saventhem in Brabant, 
 and at Windsor Castle. [Plate XVI.] 
 
THE SKETCH-BOOK BY 
 
 16 
 
 FOLIO 
 
 44- 
 
 45- 
 
 46 . 
 
 47- 
 
 48 . 
 
 49 . 
 
 50 - 
 
 51- 
 
 52 - 
 
 53- 
 
 54- 
 
 V. Blank. 
 
 Blank. 
 
 77. Blank. 
 
 V. Three studies of the Infant Christ. 
 
 R. Study of a woman’s arm. 
 
 V. Studies of the Virgin and Christ and a female saint. 
 (See folio 10 .) 
 
 R. The Virgin and Child, with a bearded saint ; pen and 
 ink sketch inscribed “titiano.” [Plate XVII.] 
 V. Blank. 
 
 R. Study of an old man, naked to the waist (St. Jerome ?), 
 inscribed “titian.” 
 
 V. Blank. 
 
 R. Study of a man’s arm, inscribed “titian.” 
 
 V. Blank. 
 
 R. Decorative design with grotesque of satyrs, sphinxes, 
 etc. Perhaps by another hand. 
 
 V. Blank. 
 
 R. Blank. 
 
 V. | Double page sheet of studies from the ancient paint- 
 77. J ing in the Aldobrandini palace at Rome, known 
 as Le Nozze A Idobrandini, with notes of colours 
 in Italian and an inscription, “si vede nel 
 GIARDINO Dl ALDOBRANDINO DIPINTO IN FRESCO 
 
 anticho. [Plate XVIII.] 
 
 V. Blank. 
 
 R. Combat between a Templar and Orientals; pencil 
 drawing tinted with red. 
 
 This drawing seems to be by another hand than 
 Van Dyck’s. 
 
 V. Blank. 
 
 R. Blank. 
 
 V. \ Double page sheet of sketches of women and other 
 77. J spectators standing or kneeling. 
 
 55 - 
 
FOLIO 
 
 SIR ANTHONY VAN DYCK 
 
 17 
 
 These sketches are studies from the famous picture 
 by Titian of The Presentation of the Virgin 
 Mary in the Temple , now in the Accademia at 
 Venice. [Plate XIX.] 
 
 V. 1 Double page sheet of sketches of peasants, taken 
 
 56. R. j from the great wood-cut, by Titian, of Pharaoh 
 
 overwhelmed in the Red Sea. (See folios 25, 
 26, 43.) 
 
 V. Blank. 
 
 57. R. Bacchanal: studies in pen and ink, tinted with red. 
 
 These appear to be taken from the famous paint- 
 ing of a Bacchanal , by Titian, now in the 
 Prado Gallery at Madrid. 
 
 V. Blank. 
 
 58. Blank. 
 
 59. R. Blank. 
 
 V. Pen-and-ink sketch of an old woman in a high conical 
 cap, inscribed “una strega in Palermo.” 
 Evidently drawn from the life by Van Dyck 
 during his visit to Palermo in 1624. 
 
 60. R. Sketches of male figures. 
 
 V. Sketches of male figures and a monkey, somewhat in 
 the style of Callot. 
 
 61. R. Sketches of buffoons and comedians, one with an 
 
 arch-lute, in the style of Callot. [Plate XX.] 
 These sketches may have been taken from a 
 travelling troupe of adtors at Rome. 
 
 V. Pen-and-ink study of a woman in Oriental dress, 
 inscribed “ habito et maniera di Persia.” 
 [Plate XXI.] 
 
 62. Blank. 
 
 63. R. Pen-and-ink sketch of a man standing at full length 
 
 in a turban and figured Oriental dress, with 
 notes of colours in Italian, and an inscription, 
 
 D 
 
THE SKETCH-BOOK BY 
 
 18 
 
 FOLIO 
 
 “ AMBASCIATORE DI PERSIA IN ROMA.” [Plate 
 
 XXII.] 
 
 The drawings on 61 V. and 63 R. have a particular 
 interest as representing the eccentric English- 
 man, Sir Robert Shirley, who entered the ser- 
 vice of the Shah of Persia, and was sent on an 
 embassy to the Pope from the Shah in 1623, 
 when Van Dyck met him at Rome. The female 
 figure is probably that of his Circassian wife. 
 Van Dyck painted fine portraits of Sir Robert 
 and Lady Shirley, which are now in the col- 
 lection of Lord Leconfield at Petworth. A 
 portrait of Lady Shirley in a fantastic habit 
 was in the collection of Charles I. 
 
 V. Sketches in blacklead of heads, some of them 
 Orientals. Perhaps by another hand. 
 
 64. R. Pen-and-ink drawing of an Oriental, and a drawing 
 
 of a figure, in pencil. 
 
 V. Blank. 
 
 65. Blank. 
 
 66. Missing. 
 
 67. R. Blank. 
 
 V. Pen-and-ink sketch of a soldier, with his hand on a 
 young man’s shoulder. 
 
 This is taken from the well-known painting of 
 The Bravo , formerly in the house of Gian 
 Antonio Venier at Venice, and now in the 
 Imperial Gallery at Vienna, sometimes ascribed 
 to Giorgione, and now stated to be by Cariani. 
 [Plate XXIII.] 
 
 68. Blank. 
 
 69. R. Blank. 
 
 V. Sketch in pen and ink of a group of Dutch peasants, 
 probably from a painting by Pieter Brueghel. 
 [Plate XXIV.] 
 
FOLIO 
 
 SIR ANTHONY VAN DYCK 
 
 19 
 
 70. Blank. 
 
 71. R. Study of drapery in black lead, inscribed “ titian.” 
 V. Sketches of drapery in pen and ink, inscribed “titian.” 
 
 72. Blank. 
 
 73. R. Study of drapery, inscribed “titian.” 
 
 V. Blank. 
 
 74. R. Blank. 
 
 V. Study of a sleeve in black lead. 
 
 75. Blank. 
 
 76. R. Drawing, in pen and ink, of a monk holding a book. 
 V. Blank. 
 
 77. Blank. 
 
 78. R. Sketch of a young man in armour lying on his back. 
 V. Blank. 
 
 79. R. Blank. 
 
 V. Sheet of studies, in pen and ink, from woodcuts by 
 Albrecht Diirer, representing the execution of 
 St. John the Baptist, etc. [Plate XXV.] 
 
 80. R. Sketches of peasants playing the bagpipes, in the 
 
 manner of Lucas van Leyden. [Plate XXVI.] 
 V. Blank. 
 
 81. Blank. 
 
 82. R. Blank. 
 
 V. Sketches from engravings by Marc Antonio Raimondi. 
 
 ( a ) The nymph and water-carrier. 
 
 ( b ) Venus drying her feet, with Cupid. 
 
 83. Blank. 
 
 84. R. Study of a monk in a cowl. 
 
 V. Blank. 
 
 85. Blank. 
 
 86. R. Pencil sketches. 
 
 V. Rough sketch of sea and ships, probably by another 
 hand. 
 
 87. Blank. 
 
20 
 
 FOLIO 
 
 THE SKETCH-BOOK BY 
 
 88. R. 
 V. 
 
 89. ye. 
 V. 
 
 90. R. 
 
 v, ; 
 
 91. R. 
 V. 
 
 92. R. 
 
 Blank. 
 
 Sketch of a kneeling figure, seen from behind, in- 
 scribed “TITIAN.” 
 
 Blank. 
 
 Sketch of a man with bare feet kneeling, inscribed 
 “ TITIAN.” 
 
 Blank. 
 
 Tobit and the Angel, a sketch in black lead, outline. 
 
 This is taken from the painting by Titian still in 
 the Church of S. Marziale at Venice. 
 
 Blank. 
 
 The Entombment, a sketch in outline. 
 
 St. Jerome (?), pen-and-ink study of a man naked to 
 the waist, inscribed “titian.” 
 
 V. Blank. 
 
 93. Blank. 
 
 94. Missing. 
 
 95. Blank. 
 
 96. R. Blank. 
 
 V. Study, in pen and ink, of a monk in an attitude of 
 adoration. [Plate XXVII.] 
 
 97. Blank. 
 
 98. R. Blank. 
 
 V. Sketch of a landscape with a view of the sea with 
 ships, and a coast with a tall lighthouse (per- 
 haps by another hand). 
 
 99. Missing. 
 
 100. R. Blank. 
 
 V. Group of the Virgin and the Apostles. 
 
 This appears to be taken from the painting by 
 Titian of Pentecost now in the Church of 
 S. Maria della Salute at Venice. 
 
 10 1. R. Study of a group of Apostles, perhaps from the 
 
 same painting. 
 
FOLIO 
 
 SIR ANTHONY VAN DYCK 
 
 21 
 
 V. Blank. 
 
 102. Blank. 
 
 103. R. Blank. 
 
 V. A short Flemish inscription. 
 
 104. R. A few pencil strokes. 
 
 V. Blank. 
 
 105. Blank. 
 
 106. Blank. 
 
 107. Blank. 
 
 108. R. Two sketches, in pen and ink, of portraits of 
 
 men. 
 
 (a) A bearded man, inscribed “titian in casa di 
 
 GIOAN CARLO DORIA.” 
 
 (b) A bearded man with head extended, inscribed 
 
 “ TITIANO IN CASA DI NICOLO DORIA (?).” [Plate 
 
 XXVIII.] 
 
 V. Four portrait sketches in pen and ink. 
 
 ( a ) A bearded man leaning on a wall, inscribed 
 
 “titianus,” with notes of colours in Italian. 
 
 (b) A man with a short beard and clasped hands, 
 
 inscribed “ titianus.” 
 
 (c) A man in Cardinal’s robes seated in an armchair, 
 
 in profile to the left, inscribed “titianus.” 
 
 (d) A young woman, richly dressed, holding a small 
 
 flag-shaped fan, inscribed “titian,” with notes 
 of colours in Italian. This portrait resembles 
 that of Titian’s daughter, Lavinia, in the 
 Dresden Gallery. [Plate XXIX.] 
 
 109. R. Portrait of a Cardinal seated in an armchair in 
 
 front of a pillar, inscribed “titian.” [Plate 
 XXX.] 
 
 This portrait, like that in 108 V. (c), appears to 
 represent Cardinal Pallavicini of Genoa. The 
 portrait became the property of Van Dyck him- 
 
22 
 
 FOLIO 
 
 THE SKETCH-BOOK BY 
 
 self, when it was engraved by Arnold de Jode, 
 and is now in the Hermitage Gallery at St. 
 Petersburg. 
 
 (109A.) V. Pen-and-ink sketch of a young woman carrying a 
 dish of fruit. 
 
 This page appears to have been misplaced. It is 
 numbered in the upper left-hand corner 84, 
 and in the lower left-hand corner 89, but both 
 pages bearing the number of folios as quoted 
 are present in this book. « 
 
 R. Jupiter and Antiope (?), with sketches of cupids, 
 inscribed “titian sig. grimaldo.” [Plate 
 XXXI.] 
 
 The Grimaldi were one of the leading patrician 
 families in Genoa. A painting of this subjedt 
 was engraved by Abraham Raimbach, from a 
 painting by Titian then in an English collec- 
 tion. 
 
 V. Four sketches of heads, inscribed “ titian.” 
 iio. R. Four studies of heads in pen and ink, three of them 
 inscribed “titian.” [Plate XXXII.] 
 
 V. (a) Sketch, in pen and ink, of the famous portrait of 
 Pope Leo X. with his Cardinals, painted by 
 Raphael, and now in the Uffizii at Florence, 
 inscribed “ leon x di rafaello.” 
 
 (b) Study, in sepia, of a Venetian general in armour, 
 perhaps a portrait of Sebastiano Venier, in- 
 scribed “titian.” [Plate XXXIII.] 
 hi. R. (a) Pen-and-ink sketch of a youth, inscribed 
 
 “ TITIANUS.” 
 
 This portrait, however, resembles a portrait of 
 a young Knight of Malta, now in the Berlin 
 Gallery, and there ascribed to Giuseppe Porta, 
 called Salviati, a repetition of which, ascribed 
 
SIR ANTHONY VAN DYCK 23 
 
 FOLIO 
 
 to Titian, is in the collection of Sir F. L. Cook, 
 ( Bart., at Doughty House, Richmond. 
 
 (&) Portrait in sepia of an elderly man seated, 
 inscribed “titianus.” 
 
 In spite of this inscription this portrait corre- 
 sponds to the well-known portrait of The 
 Schoolmaster by Moroni, in the collection of the 
 Dukeof Sutherland in Stafford House, London. 
 
 (c) and (d) Sketches of heads. [Plate XXXIV.] 
 
 V. Pen-and-ink sketch of the famous painting by Titian 
 of “Pope Paul III. (Farnese), with his Ne- 
 phews,” with inscriptions, “ pauolo hi far- 
 nese, card. ales dro farnese, and notes of 
 colours in Italian. 
 
 This picture is now in the Royal Gallery at 
 Naples. [Plate XXXV]. 
 
 1 1 2. R. ( a ) Titian and his Mistress, pen-and-ink sketch in- 
 scribed “ MORS TITIANI.” 
 
 This is taken from a painting by Titian, said 
 to represent him with either his mistress or 
 his daughter, the original of which cannot now 
 be traced, though a copy exists in a Spanish 
 collection. To this drawing particular interest 
 attaches, since from the original picture Van 
 Dyck made an etching. The plate etched by 
 Van Dyck was afterwards re-worked, probably 
 by Lucas Vorsterman, and published with a 
 dedication to Van Dyck’s friend and patron at 
 Genoa, the art-loving merchant of Antwerp, 
 Lucas Van Uffel. 
 
 ( b ) Sketch in reddish chalk of Salome with the head 
 of St. John the Baptist. [Plate XXXVI.] 
 
 V. Portrait of a young man, richly dressed, lightly 
 sketched in pencil. 
 
THE SKETCH-BOOK BY 
 
 24 
 
 FOLIO 
 
 This portrait is taken from the famous painting, 
 usually attributed to Raphael, in the collec- 
 tion of Prince Czartoryski at Cracow. [Plate 
 XXXVII.] 
 
 1 13. /?. Sketch in pen and ink of Sofonisba Anguissola , 
 
 with autograph of Van Dyck. 
 
 “ RETTRATTO DELLA SIG RA SOFONISMA PITTRICIA 
 FATTO DAL VIVA IN PALERMO L* ANNO 1 624 
 LE 12 DI JULIO, L’ ETA DI ESSA 96 HAVENDO 
 ANCORA LA MEMORIA ET IL SERVERLLO PRON- 
 TISSIMO, CORTESSIMA, ET SEBENE PERLA VEC- 
 CIAIA LA MANCAVA LA VISTA, HEBBE CON TUTTO 
 CIO GUSTO DE METTERE GLI QUADRI AVANTI 
 ad essa p:t CONGRAN STENTA METTENDO IL 
 NASO SOPRA IL QUADRO, VENNE A DISCERNERE 
 QUALCHE POCA ET PIGLIO GRAN PIACERE AN- 
 CORA IN QUEL MODO, FACENDE IL RITRATTO 
 DE ESSA, MI DIEDE DIVERSI ADVERTIMENTI 
 NON DEVENDO PIGLIAR IL LUME TROPPO ALTO 
 ACCIO CHE LE OMBRE NELLE RUGE DELLA 
 VECCIAIA NON DIVENTASSERO TROPPO GRANDI, 
 ET MOLTI ALTRI BUONI DISCORSI COME ANCORA 
 CONTO PARTE DELLA VITA DI ESSA PER LA 
 QUALE LE CONOBBI CHE ERA PITTORA DE 
 NATURA ET MIRACULOSA ET LA PENA MAGIORE 
 CHE HEBBE ERA PER MANCAMENTO DI VISTA 
 NON POTER PIU DIPINGERE, LA MANO ERA 
 ANCORA FERMA SENZA TREMUTA NESSUNA.” 
 “ Portrait of the Lady Sofonisba, painter, done 
 from the life in Palermo in the year 1624, on 
 July 12, her age being 96, having still her 
 memory with her brain most alert, being most 
 courteous ; and although through old age she 
 had lost her sight, she all the same took great 
 

 FOLIO 
 
 SIR ANTHONY VAN DYCK 
 
 25 
 
 pleasure in putting pictures before her, and 
 then by assiduously putting her nose to the 
 picture, she arrived at discerning some little of 
 it, and took great pleasure in doing this. As 
 I was making her portrait, she gave me many 
 hints, such as not to take the light from too 
 high, lest the shadows in the wrinkles of old 
 age should become too strong, and many 
 other good sayings, as she went on telling me 
 parts of her life, by which I knew that she 
 was a painter by nature and wonderful, and 
 the greatest trouble she had was that from 
 lack of sight she could paint no more, though 
 her hand was firm without tremor of any 
 sort.” 
 
 [Plate XXXVIII.] 
 
 Sofonisba Anguissola, the most famous of the 
 family of sisters of this name at Genoa, who 
 were all noted for their skill in painting, late in 
 life married one of the Lomellini family in 
 Genoa. At the time that Van Dyck met her she 
 was living at Palermo at the age of 96, and she 
 died there shortly after, in 1626. A painting 
 somewhat resembling this drawing by Van 
 Dyck has lately been discovered at Palermo, 
 and attributed to Van Dyck. 
 
 Two sketches of nude figures. 
 
 Pen-and-ink sketches. 
 
 (a) Venus attiring herself, inscribed “titian.” 
 
 (d) Venus recumbent, with a man playing the organ, 
 inscribed “titian.” 
 
 This is taken from the well-known painting by 
 Titian, known by several versions, the original 
 being probably that in the Prado Gallery at 
 
 E 
 

 THE SKETCH-BOOK BY 
 
 26 
 
 FOLIO 
 
 1 15 - 
 
 Madrid. One version, corresponding to this 
 sketch, was painted from Francesco Assonica 
 of Venice. [Plate XXXIX.] 
 
 V. | Double page sheet of sketches. 
 
 R. j Sketches of Venetian ladies kneeling, and nuns 
 speaking to them, inscribed “ religiose di s. 
 MARGARETTA IN CHIESA DI ESSA.” 
 
 The conventual church of S. Margherita in 
 Venice was one of the oldest churches there, 
 and for long used as a parish church. During 
 the nineteenth century the church was closed 
 and desecrated. 
 
 ] Double-page sheet of sketches. 
 
 I (a) A lady walking, in a rich dress, with a man 
 looking on, inscribed “ vestimento romano.” 
 
 (b) Salome with the head of St. John the Baptist. 
 
 (c) Sketch from the famous painting by Titian of 
 Venus and Medea (usually known as Sacred 
 and Profane Love ) in the Borghese Gallery at 
 Rome, inscribed “ nella vinia borgesi, titi- 
 anus.” [Plate XL.] 
 
 ] Double page sheet of sketches in pen and ink and 
 J sepia. 
 
 (a) The Education of Cupid, from the famous picture 
 by Titian in the Borghese Gallery at Rome, 
 inscribed “titianus,” with notes of colours, 
 and under the nymph with her breast ex- 
 posed, the inscription “ quel admirabil 
 
 pp:tto. 
 
 It is noteworthy that Van Dyck borrowed the 
 figure of this nymph for his painting of 7'he 
 Virgin and Child with the Penitent Sinners , 
 versions of which are in the Louvre at Paris 
 and the Berlin Gallery. 
 
SIR ANTHONY VAN DYCK 27 
 
 FOLIO 
 
 (b) Venus with Cupid and a satyr, inscribed 
 “ titiano. ” 
 
 (i c ) Venus recumbent and nude, with a sketch of a 
 female head, inscribed “ titian.” [Plate 
 XLI.] 
 
 V. Venus and Mercury. 
 
 This appears to be taken from the painting by 
 Raphael in the Farnese Palace at Rome. 
 
 1 1 8. R. Venus and Cupid with a satyr, and a sketch of a 
 
 satyr’s head. [Plate XLII]. 
 
 V. ( a ) A young man with his mistress swooning on 
 his breast, another man behind, inscribed 
 
 “ TITIAN.” 
 
 The original painting, which has many of the 
 characteristics of a painting by Giorgione 
 rather than of one by Titian, passed shortly 
 after this date into the collection of Charles, 
 Prince of Wales, afterwards Charles I. It 
 was sold at the dispersal of the Royal Collec- 
 tion, but recovered, and is now in the Royal 
 Collection at Buckingham Palace. 
 
 (b) Judith with her nurse and the head of Holo- 
 
 fernes. 
 
 (c) Venus nude and recumbent, with a small dog. 
 
 [Plate XLIII.] 
 
 1 19. R. Salome holding a charger, into which an execu- 
 
 tioner is placing the head of St. John the 
 Baptist. 
 
 V. Sketch of a young woman carrying a silver dish of 
 fruit, taken from the famous painting of 
 Lavinia by Titian, one version of which is now 
 in the Berlin Gallery. This sketch is perhaps 
 taken from the version, A girl holding a basin 
 with two melons , which was formerly in the 
 
THE SKETCH-BOOK BY 
 
 28 
 
 FOLIO 
 
 120 . 
 
 121 . 
 
 122 . 
 
 123. 
 
 collection of Van Dyck’s friend, Lucas von 
 Uffel, at Antwerp. [Plate XLIV.] 
 
 R. Venus and Cupid, drawn in pencil, inscribed “ luci- 
 ANO FORME (?) TITIANO DIPINSE.” 
 
 V. Drawing in pencil of a young man on a staircase, in 
 the style of Paolo Veronese. 
 
 R. Studies in pencil of two women. 
 
 V. Venus nude and recumbent in a landscape with 
 three Cupids. 
 
 This drawing has great resemblance to the 
 famous painting by Giorgione in the Royal 
 Gallery at Dresden, and may give the original 
 composition of that picture. [Plate XLV.] 
 
 R. Blank. 
 
 V. The Toilet of Venus, sepia drawing. 
 
 This is taken from the well-known painting by 
 Titian, of which several versions exist, the 
 original being probably that formerly in the 
 house of Niccolo Grasso at Venice and now in 
 the Hermitage Gallery at St. Petersburg. Of 
 the two versions in this Gallery Van Dyck’s 
 sketch more nearly resembles that now classed 
 as the inferior in value. [Plate XLVI.] 
 
 R. A list of addresses of places to be visited, com- 
 mencing “IN ROMA LE COSE DI TITIAN,” in 
 some cases with notes of pictures to be 
 found there ; among them is one “ en casa de 
 daniele nys.” This Daniel Nys was a painter 
 at Venice, who was one of the chief agents for 
 Charles I. in the purchase of the famous col- 
 lection of paintings belonging to the Duke of 
 Mantua. 
 
 V. [a) Pen-and-ink sketch of an ostrich, inscribed 
 
SIR ANTHONY VAN DYCK 29 
 
 FOLIO 
 
 “TITIAN”; “acty als de struys gram is” 
 (Adtion of the ostrich, when angry). 
 
 (£) Sketch of a monster, like a basilisk, inscribed 
 “vivo.” [Plate XLVII.] 
 
 124. R. A dragon pierced by the lance of St. George. 
 
 V. Notes of addresses, colours, etc., and a slight pencil 
 sketch of a young man. 
 
 125. On the inside of the vellum cover. A slight pencil 
 
 sketch in pen and ink of a male figure. 
 
PLATES. 
 
r 
 
 . 1 'IT 
 
 T q 
 
 i. i 
 
 <ebiqjJD ^mqddk lo qijoro 
 
 .OPU 3'VMIJ 3 A£3VAMUH 
 
 fj 
 
 AJ 3 l / TZTid 1 ' ' ; I )2f[J 
 
 ",a 3 gA ssirH srfT ! ,M gniini ;q 3 moil n ! . 8 [aorg sirH 
 
 .nsbiT (6 
 
Plate I. 
 
 Pen-and-ink sketch of a group of sleeping cupids, 
 
 inscribed “ i/estate la primavera e l’inverno.” 
 
 This group is taken from the painting of “ The Three Ages,” 
 
 by T itian. 
 
/ 
 
 ( (Xj, 
 
 rf^ik (as(71y7 7*** 1 
 
 w / 7 ^ ^->r y 
 
 /\r 1 ' P D 
 
 % * $■ - 
 

 
 
 .II aTAJ«I 
 
 arii io x r a 
 
 ; J3 ADy O' r f '.Xj .;>! r Jo ioolic zf 1 - 0(j oldioja 
 
 id- 1 
 
 -ni f .Dl> t v ; irar' ; I yin H aril- blirO bna nrg-aV 
 
 3fi‘) l FIT '" 1 0 ' AIT IT 3Q JK ' )3C T 
 
 ,aomij o 5 ir-j ]>ojoooaj 73>jjjy 
 
 o- 
 
Plate II. 
 
 >uble page sheet of sketches in pen and ink of the 
 Virgin and Child, the Holy Family, etc., in- 
 scribed “ PENSERI DE TITIANO ” and “TITIAN,” the 
 latter repeated three times. 
 

 
 
 
 
 

 ,,>? fij ba.c H3Q m av< ::ib t miri 
 
 Dili 
 
 
 0 s t 
 
 L 
 
 
Plate III. 
 
 The Virgin and Child, drawn in pen and ink, 
 inscribed “ titian.” 
 
. . n i l . MU ■ U.J WP HJi BW l l lJ I I | l M.m v 'm*m 
 
VI .'ITA.; V 
 
 V ... ... ,\ 
 
 • :i [ : }n ■ nil alsri w >i ■ ■ ' ■ i : i I 
 
 Jtv»f bn/, b/snajjri / .:nonoh wY/i V. - 
 
 ' ../A Ti7 " ! WO/: - A : 
 
 <■ .... ' . : - . . 
 
 zi fHQflw !o =jHo ;/ ’ont a/virli bn/ .v/o .;..' i .... 
 
Plate IV. 
 
 Left-hand page . 
 
 The Evangelist Matthew listening to an angel and 
 adored by two donors, a husband and wife, 
 inscribed “ titian.” 
 
 Right-hand page. 
 
 St. Sebastian and three angels, one of whom is 
 extracting an arrow from the saint’s body. 
 

 
 
 
 
7 ... . , ...O' 
 
 * jA : . ..-i,.., 1 
 
 "■I'..- 
 
 vq 
 
 > . . i : . 
 
 ' . I D2 fit . j ; - 
 
 ' H ro 
 
 Dzsfliy, 7 ,7: 
 
Plate V. 
 
 The Holy Family with a saint, or donor. Pen- 
 and-ink drawing, washed with sepia, inscribed 
 
 a ” 
 
 TITIAN. 
 

 
 
 
 
 
 

 r T r 
 
 OltOk-d :3.m r:/y;v.: ' ) 
 
 x :n 
 
 -[taj.'i 
 
 
 
 
 ( H£ . 
 
 
 i>3< 
 
 ■J ni a : = / 
 
 
 
Plate VI. 
 
 The Holy Family with St. Catherine before an 
 arcade, inscribed “titian.” With notes of 
 colours in Italian. 
 
WW I' i ' •* * " ■ 111 1 1 ‘ 1 injf I I 
 

 
 
-1 IV 3TAj4 
 
 to qorlaitf .clips'? ;| < >.s^ to bis 
 
 '" ' ) 1 1 . . : i 
 
 'O asiorr dirW ".’TAriii 4i baohoGaJ 
 
 n. f noil '\ol:sH os . •- '•• ' T • 3 j;.r ' 
 
 '■'iisv A ;•• '.or > s~o33o 5 , 
 
 2 
 
 rtg jfni-bnc ns c l 
 
 ,3' «soi!qs4 
 
 . I 7 1 :>1 sfljG 
 
 fll 3lUoloD 
 
Plate VII. 
 
 Pen-and-ink sketch of Jacopo Pesaro, Bishop of 
 Paphos, presented to St. Mark by Pope Alex- 
 ander VI., inscribed “titian.” With notes of 
 colours m Italian. 
 
 A sketch from the picture by Titian known as “ Baffo,” now in 
 the Picture Gallery at Antwerp. 
 

 !- 
 
 

. i 1 IV .iTAdV 
 
 .ai3«odfj33X3 itiw ,zsoi3 serf gnrr.Esd 
 
 , ! tinfaq :i rn ri\ . r. ...A- •• j , : 
 
 b :>Kp0Z E (Ufi • 2/ rf ££ ' 5 5 '' • ro3 ' : is* ib £ lD 
 
 zrolipoll) to shov- -,/J 
 
 t 
 
 : VV- r - IOC in -T^lv 5 ' 5>rh 
 
Plate VIII. 
 
 (<?) Christ bearing the C ross, with executioners. 
 D rawn in pen and ink and inscribed “giorgion.” 
 
 This drawing is taken in reverse from the painting in the 
 Chlesa di San Rocco at Venice, which is generally accepted as 
 the work of Giorgione. 
 
 (J>) Two sketches in pen and ink, washed with sepia, 
 representing the Man of Sorrows, both in- 
 scribed “TITIAN.” 
 
\ 
 

 

 rfl w I w rioa ,>i ; ni asrbfc da io if sH l 
 
 .sicpa 
 
 .Ottawa:- ” bsci hoard JahrO Tk> gnbbcM onT (a. 
 v.;a a ,iJ ' ' t av/o'« 10 c ./ :'iaM aOT 
 
 \ 
 
 ' .maiti r ' .■ . id ni j 3 i d 10T jahrlD 
 
 . ■ mod : ovj j rh .. awo n< B i£ M T 
 
 ".■/ at tit ” bodnoani 
 
 v t ni 3r-:h ■ ■ “H.rv> " t - 37 ( .} c < TO 
 
 < ii A if ni V, >1 .. »i3 1 
 
 fcne id : h rl 
 
Plate IX. 
 
 Sheet of sketches in pen and ink, some washed with 
 sepia. 
 
 (а) The Mocking of Christ, inscribed “caratio.” 
 
 (б) The Man of Sorrows, inscribed “titian.” 
 
 (c) Christ Tortured, inscribed “titian.’’ 
 
 (d) The Man of Sorrows with two executioners, 
 
 inscribed “titian.” 
 
 Of these (c) represents the figure of Christ in the painting by 
 Titian, now in the Louvre, used by Van Dyck in his great paintings 
 of “ Christ crowned with Thorns” at Munich and Berlin. 
 

 
,'/> xtajH 
 
 ,8i oiiu 
 
 : *n& ne ( i r i >3 ■ 3j . 1 ■ i< - e/ >j i ■■ l< I rjo^ • 
 
 OV ; W L ) 5 ij J : [) 
 
 .ofn ■ >F3 n-:i ■ :r rA r* 1 > 3 < fnaani 
 
 ■■ ■ - - v. . ■ ?>£ \ } 3 : m ns>* 6 i si ^aiv/stiQ swH 
 
 Set . xsItsO ni von o draoi - 
 
 .i< J . oj ;jnn£5.]cj'. VnrO 
 1 ycln:.'- ; :n sf- 
 
 ti n . Si tolfi ,3c: H ' : Dili w ’> 
 
 aye 'i 183 ; S: \ niv fid is >i iLsr wt? , bribe M Jr dlVO < bfi i*I 
 
 .:fih ycf 
 
 ’•.313§C /i" si,' il ' 1 ” - 
 
 HI rr- ■ r : :■)>;: l'/.; 
 
 .k/ aTf** 
 
 
Double page of sketches in pen and ink. 
 
 (a) Christ bearing the Cross with two executioners, 
 inscribed “ fray sebastiano de piombo.” 
 
 This drawing is taken from the painting by Sebastiano del 
 Piombo now in the Hermitage Gallery at St. Petersburg. 
 
 (i b ) “ Noli Me Tangere.” Christ appearing to St. 
 
 Mary Magdalen in the garden, inscribed 
 
 << ” 
 
 TITIAN. 
 
 This composition records the complete painting by Titian, 
 of which a fragment, the head of Christ, alone remains in the 
 Prado Gallery at Madrid, the remainder having been destroyed 
 by fire. 
 
[ [ 3TAJ*! 
 
 ' ' ) : ' 
 
 a rnr ;i b-sdnosm 
 
 5 Cii ,san nBjJ siom :>h'{Q ijsV \d \ >3ab ss / n • [ rr»c 
 a' nb m q ini . ■ - jorii 39 urli . di ii bn ji i n3 jo2 ; \ r. / ■■ ' - 
 >Ov ■ Ions! iig to oi b >i ni lahriO jsxia • 
 
 .. iii a : l jrs "•{is-ibiD I - ■; . rii ni bnn i >.u 
 
 3 
 
 ,- v - 
 
 T 
 
Plate XI. 
 
 The Betrayal of Christ. Pen-and-ink drawing, 
 inscribed “titian.” 
 
 This composition was used by Van Dyck more than once, in a 
 drawing engraved by P. Soutman, and in the three important paintings 
 of “ The Betrayal of Christ” in the colledtions of Sir Frederick Cook, 
 Bart., and Lord Methuen, and in the Prado Gallery at Madrid. 
 
-fr-pnn 
 

 
 \ 
 
 

 
 : l ,'C j , ‘TJ ' 
 
 35(:' *or U • t i ’ J iC,- 
 
 u 
 
 - uri 
 
 - 
 
 
 . » V.' it 
 
 
 c t ^ 
 
 ■V ' V 
 
Plate XII. 
 
 Studies of horses. Pen-and-ink drawing, inscribed 
 
 (t ” 
 
 TITIAN. 
 
 (a) A H orse biting its knee. 
 
 {/?) Two Horses harnessed to a Chariot. 
 


 
 
 

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Plate XIII. 
 
 Double-page sheet of sketches in pen and ink and 
 sepia for “ The Last Supper.” 
 
 The principal sketch is taken from the engraving by Marc Antonio 
 Raimondi after a drawing by Raphael. The original drawing is in the 
 Royal Colledfion at Windsor Castle. 
 
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 ipe-ibO I . ■ | v . v • 
 
 
Plate XIV. 
 
 “ Le Respect.” Pen-and-ink sketch from a 
 painting by Paolo Veronese. 
 
 The paintings from which this and the following sketch were taken 
 formed part of a set of four which formerly adorned the ceiling of a 
 palace at Venice. They are now in the National Gallery. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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L’lnficlelit^.’ 
 
 Pen-and-ink sketch from a painting 
 by Paolo Veronese. 
 

 
 
 
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Plate XVI. 
 
 Double-page sheet of pen-and-ink sketches from the 
 woodcut by Titian of “ Pharaoh overwhelmed 
 in the Red Sea,’’ 
 

 
 

 
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 " ( yiai i ' ' 1 )di n ai ^fbleoie jlni-briB 
 
 3il 
 
 
Plate XVII. 
 
 The Virgin and Child with a bearded Saint, 
 and-ink sketch, inscribed “titiano.” 
 
 Pen- 
 

 

 
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Plate XVIII. 
 
 Double page sheet of studies from the ancient paint- 
 ing in the Aldobrandini palace at Rome, known 
 as “ Le Nozze Aldobrandini,” with notes of 
 colours in Italian and an inscription, “si vede 
 
 NEE GIARDINO DI ALDOBRANDINO DIPINTO IN 
 FRESCO ANTICHO.” 
 

 
 
 
 
 
 
 
 
 
 
 
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 Plate XIX. 
 
 Double page sheet of sketches of women and other 
 spectators standing or kneeling. 
 
 Studies from the picture by Titian of “ The Presentation of the Virgin 
 Mary in the Temple,” now in the Accademia at Venice. 
 

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Plate XX. 
 
 Sketches of buffoons and comedians, one with 
 arch-lute, in the style of Callot. 
 
 Possibly taken from a travelling troupe of actors at Rome. 
 
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Plate XXI. 
 
 Pen -and-ink study ol a woman in Oriental dress, 
 inscribed “ habito et maniere di Persia.” (See 
 Plate XXII.) 
 

 

 
 
 
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 rfoiw t 229il Ijeins a*iu*gri '■... _ hu" > 
 
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 sa grt sFfifft . srfT .err 5j is i id ism 1 : ■ ' - ' - - 
 
 .ir; ■; J aid ft,- ' i;,-::- •;• ; 
 
Plate XXII. 
 
 Pen-and-ink sketch of a man standing at full length 
 
 o o 
 
 in a turban and figured Oriental dress, with 
 notes of colours in Italian, and an inscription, 
 
 “ AMBASCIATORE DI PERSIA IN ROMA.'’ 
 
 The drawings on Plates XXI. and XXII. represent the eccentric 
 Englishman, Sir Robert Shirley, who entered the service of the Shah 
 of Persia, and was sent on an embassy to the Pope from the Shah in 
 1621, when Van Dyck met him at Rome. The female figure is 
 probably that of his Circassian wife. 
 

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Plate XX II I. 
 
 Pen -and-ink sketch of a soldier, with his hand on a 
 young man’s shoulder. 
 
 Taken from the painting of “The Bravo,’ now in the Imperial 
 Gallery at Vienna, sometimes ascribed to Giorgione, and now stated to 
 be by Cariani. 
 
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Plate XXIV. 
 
 Sketch in pen and ink of a group of Dutch peasants, 
 probably from a painting by Pieter Brueghel. 
 

 
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Plate XXV. 
 
 Sheet of studies, in pen and ink, from woodcuts by 
 Albrecht Diirer, representing the execution of 
 St. John the Baptist, etc. 
 



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Plate XXVI. 
 
 Sketches of peasants playing the bagpipes, in the 
 manner of Lucas van Leyden. 
 

 
 

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Plate XXVII. 
 
 Study in pen and ink of a monk in an attitude 
 
 of adoration. 
 

 
 
 
 
 
 
 
 
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Plate XXVIII. 
 
 Two sketches, in pen and ink, of portraits of men. 
 (a) A bearded man, inscribed “ titian in casa di 
 
 GIOAN CALO DORIA. 
 
 {b) A bearded man with head extended, inscribed 
 
 “ TITIANO IN CASA Dl NICOLO DORIA (?).” 
 

 
 
 
 
 
 
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 8 
 
Plate XXIX. 
 
 P our portrait sketches in pen and ink. 
 
 [a) A bearded man leaning on a wall, inscribed 
 “titianus,” with notes of colours in Italian. 
 
 {[>) A man with a short beard and clasped hands, 
 inscribed “titianus.” 
 
 (c) A man in Cardinal’s robes seated in an arm- 
 chair, in profile to the left, inscribed “titianus.” 
 
 This appears to represent Cardinal Pallavicini of Genoa. 
 
 id) A young woman, richly dressed, holding a small 
 flag-shaped fan, inscribed “titian,” with notes 
 of colours in Italian. 
 
 This portrait resembles that of Titian’s daughter, Lavinia, 
 in the Dresden Gallery. 
 

 
 
 
 

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Plate XXX. 
 
 Portrait of a Cardinal seated in an armchair m front 
 of a pillar, inscribed “titian.” 
 
 This appears to represent Cardinal Pallavicini of Genoa. 
 

 
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Plate XXXI. 
 
 Jupiter and Antiope (?), with sketches of cupids, 
 inscribed “titian sig. grimaldo.” 
 

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Plate XXXII. 
 
 Four studies of heads in pen and ink, three of them 
 
 inscribed “titian.” 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
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Plate XXXIII. 
 
 (a) Sketch, in pen and ink, of the portrait of Pope 
 Leo X. with his Cardinals, by Raphael, now in 
 the Uffizii at Florence. Inscribed “ leon $ di 
 
 RAFAELLO.” 
 
 (/;) Study in sepia, of a Venetian general in armour, 
 perhaps a portrait of Sebastiano Venier, in- 
 scribed “TITIAN.” 
 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Plate XXXIV. 
 
 (a) Pen-and-ink sketch of a youth, inscribed “ ti- 
 
 TIANUS.” 
 
 This sketch resembles a portrait of a young Knight of 
 Malta, now in the Berlin Gallery, and there ascribed to Giuseppe 
 Porta, called Salviati. 
 
 (i) Portrait in sepia of an elderly man seated, in- 
 scribed “ TITIANUS.” 
 
 This corresponds to the portrait of “ The Schoolmaster” by 
 Moroni, in the collection of the Duke of Sutherland in Stafford 
 House, London. 
 
 (c) and (d). Sketches of heads. 
 

 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 tr [\ Bill 
 
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 ■ I ■ 
 
 
 
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Plate XXXV. 
 
 Pen-and-ink sketch of the painting by Titian of 
 “ Pope Paul III. (Farnese), with Ins Nephews, ” 
 with inscriptions, “ pauolo iii farnese, card. 
 ales dro farnese,” and notes of colours in Italian. 
 
 This picture is now in the Royal Gallery at Naples. 
 

 
 
 
 
 
 
 
 
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 iL " 
 
 
 
 
Plate XXXVI. 
 
 (a) “ Titian and his Mistress,” pen-and-ink sketch 
 inscribed “ mors titiani.” 
 
 From a painting by Titian, the original of which cannot now 
 be traced. To this drawing particular interest attaches, since 
 from the original pidture Van Dyck made an etching. 
 
 (b) Sketch m reddish chalk of Salome with the head 
 of St. John the Baptist. 
 

 
 
 
 
 
 
 
 
jbnaq ni bsrbisba 
 
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 toudhttfi vUbimsif .rjnitokq euointf aril moil nsAsi & iixmoq 
 .woDfilO te bfeTioftfisD *>nh<I lo noift > " r » ; ^ ■ 1 
 
Plate XXXVII. 
 
 Portrait of a young man, richly dressed, lightly 
 sketched in pencil. 
 
 This portrait is taken from the famous painting, usually attributed 
 Raphael, in the collection of Prince Czartoryski at Cracow. 
 

 
 
 
 
 
 
 
 
 
 
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 7 
 
 XXX 
 
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Plate XXXVIII. 
 
 Sketch in pen and ink of “ Sofonisba Anguissola,” 
 with autograph of Van Dyck. 
 
 The inscription is given in full on page 24. 
 
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Plate XXXIX. 
 
 Pen-and-ink sketches. 
 
 (a) Venus attiring herself, inscribed “titian.” 
 
 (b) Venus recumbent, with a man playing the organ, 
 
 inscribed “titian.” 
 
 This is taken from the well-known painting by Titian, known by 
 several versions, the original being probably that in the Prado Gallery 
 at Madrid. 
 
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Plate XL. 
 
 Sketch from the famous painting by Titian of “Venus 
 and Medea’’ (usually known as “Sacred and 
 Profane Love ”) in the Borghese Gallery at 
 Rome, inscribed “ nella vivia borghesi, titi- 
 
 ANUS.” 
 
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 ".'/iAjtit oaOnosni , bsafi s-£fnt>i 
 
 1 1 
 
 
Plate XLI. 
 
 Double page sheet of sketches in pen and ink and 
 sepia. 
 
 (a) “ The Education of Cupid, from the famous 
 
 picture by Titian in the Borghese Gallery at 
 Rome, inscribed “titianus,” with notes ol 
 colours, and under the nymph with her breast 
 exposed, the inscription “quel admirabil petto.” 
 
 (b) Venus with Cupid and a satyr, inscribed “ ti- 
 
 tiano.” 
 
 (c) Venus recumbent and nude, with a sketch of a 
 
 female head, inscribed “titian.” 
 


 
 
 
 
 
 
 

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 .1 OX 3 T Awl SI 
 
 S it . ~i\ : . riii N biqu . bcu ^u^ ■ J 
 .bse?rl aY/te x: 
 
Plate XLII. 
 
 Venus and Cupid with a satyr, and a sketch of 
 
 a satyr’s head. 
 

 
 
 
 
 
 
 
 
 
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 if) no grtincx . a aa naif id ! iw m ~gs ( [ 
 
 . ; . . . ' i II io?j : : mid; d asm 13d U ) u iassit : 
 
 no Tt ' ft si ;r o 3 a /ns h ... A I rr jgnbr q fi . to sri I 
 won ai .nsbiT A t»oo o Bib i rh i ^noi^ioiO yd ^gniinisq e 
 
 .odc.uA -^rAnAbijil 3. 
 
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 .as nisi 
 
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Plate XLIII. 
 
 (a) A young man with his mistress swooning on his 
 breast, another man behind, inscribed “ titian.” 
 
 'J'he original painting, which has many of the characteristics 
 of a painting by Giorgione, rather than of one by Titian, is now 
 at Buckingham Palace. 
 
 (b) Judith with her nurse and the head of Holo- 
 
 fernes. 
 
 (c) Venus nude and recumbent, with a small dog. 
 

 
 
 
 
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 a- 
 
Plate XL IV. 
 
 Sketch of a young woman carrying a silver dish 
 
 of fruit. 
 
 Taken from Titian’s painting of “ Lavinia," one version of which is 
 now in the Berlin Gallery. 
 

 
 
 
 
 
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 riiiw ^OEDabnBi £ nr oburr &stv 
 
 .sbiqjj ■ ■ ' 
 
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Plate XLY. 
 
 Venus, nude and recumbent, in a landscape with 
 
 thi *ee Cupids. 
 
 This drawing has great resemblance to the painting by Giorgione 
 in the Royal Gallery at Dresden, and may give the original composi- 
 tion of the picture. 
 

 
 
 
 
 
 
 
 
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 ,' ? icnw£ib fjiQO'd .'Xinv -I to touoj 
 
 ? x 
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 ?. i : r. yioU/iO vy£lmn >H - Tj 
 
 ;:JtT yd v^ihnreq 5fX 
 
 sit mils '/Idixioici v— 
 
 
Plate XLVI. 
 
 The toilet of Venus, sepia drawing. 
 
 Taken from the painting by Titian, of which several versions exist, 
 the original being probably that in the Hermitage Gallery at St. 
 
 Petersburg. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
.1 IV JX HTAjfl 
 
 -it ° bydnoam ,rbn;teo rr c k> fbtola >[nr-bni>n3 c I (& 
 1 > 3 l- ■ . 21 H i y ) ' rcz 2 i / YTD/ . VU ' 
 
 (. rrg f ie noriw t dbh:teo orb io 
 Irjdrioaai r daiha£d r; i»Sr( .loiaaom r, lo fbiodS 
 
 ".ov-iv " 
 
Plate XLVII. 
 
 (a) Pen-and-ink sketch of an ostrich, inscribed “Ti- 
 
 tian.” “acty als de struys gram is.” (Action 
 of the ostrich, when angry.) 
 
 [b) Sketch of a monster, like a basilisk, inscribed 
 
 VIVO. 
 

 

 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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