>■'. ...
PROOF.
DKSCHIPTIVE AND IIISTOIDCAI.
CATALOGUE
OF THE 0
PICTURES, DRAWINGS, & CASTS,
Salkivi ,ol Ax;t
T H E R O Y AT. I N S T I '1' TJ 1' I ( ) N .
CODJUITT STEI'.ET, LlVElil’OOL,
PRICE SIXPENCE.
LIVERPOOL :
PRINTED BY GEORGE M^CORQUODALE ct CO.
38, CASTLE STKEET.
1S.I8.
REPORT
PUBLIC MEETING
FOR THE FORMATION OP
€jie JinujiDnl |ariEti|.nf fmt Mb,
held at the
ROYAL INSTITUTION,
ON THE 8th of FEBRUARY’, 1858,
THEODORE EATHBONE, Esq.,
IN THE CHAIR.
“That pleasure which is at once the most intense, the most elevating,
and the most pure, is found in the contemplation of the beautiful.”
COPIES M.4Y BE OBTAINED FROM THE HONORARY SECRETARIES.
LIVERPOOL :
PRINTED BY C. TINLING, COURIER OFFICE, CASTLE STREET.
1858.
%\t yiterpfll Sffdfti of |rae |irts
COMMITTEES:
Finance. —Messrs. Bennett, Boadle, Dawson, Mussabini,
Taunton, and Thompson.
Printing and Advertising. — Messrs. Archer, Dawson,
Horner, and Norbury.
Exhibition. — Messrs. Archer, Boadle, Ewbank, Grundy,
Hay, Herdraan, Rev. H. H. Higgins, Horner, Mayer,
Mussabini, Norbury, Sumners, and 'Ferelst.
Lectures.— Messrs, Archer, Dawson, Ewbank, Herdman,
Rev. H. H. Higgins, Mayer, Norbury, and Thomp-
son.
Permanent Gallery and School of Art.— Messrs.
Dawson, Ewbank, Grundy, Hay, Herdman, Norbury,
Sumners, and Verelst.
Mr. BOULT and Dr. THOMSON,
Hon. Secretaries. Members of all Comm ittees.
Central Office — 24, North John- street.
Council Rooms — Royal Institution.
President.
The Right Hon. the Earl of Sefton, Lord-Lieutenant of the
County.
UicE^presitifnts.
EX OFFICIIS.
The Mayor of Iuverpool.
The High-Sheriff of Laxcashire.
The Lord Bishop of the Diocese.
The Members for the Borough.
The Members for the Southern Division of the County.
ELECTED.
The Most Hon. the Marquis of Salisbury, K.G.
The Most Hon. the Marquis of Hartington, M.P.
The Right Hon. the Earl of Ellesmere.
The Right Hon. Lord Stanley, M.P.
The Right Hon. Lord Lindsay.
The Right Hon. W. E. Gladstone, D.C.L., M.P.
The Hon. Sir Edward Cust, K.C.H.
Sir Thomas Hesketh, Bart.
Sir Thomas B. Birch, Bart.
Alderman Bennett.
J. Ireland Blackburne, Esq.
T. Weld Blundell, Esq.
Christopher Bushell, Esq.
James Dawson, Esq.
Alderman Gardner.
J. P Heywood, Esq.
James Lister, Esq.
J. Buck Lloyd, Esq.
Thomas Lyon, Esq.
T. M. Mac KAY, Esq.
Joseph Mayer, F.S.A.
John Naylor, Esq.
Wilson Patten, Esq., M.P.
Alderman Preston.
Theodore W. Rathbone, Esq.
W. R. Sandbach, Esq.
John Torr, Esq.
Proijisional ^otinciL
Alderman Bennett, Chairman.
Joseph Mayer, F.S.A., Deputy-Chairman.
Professor T. C. Archer.
A. Boadle, Merchant.
Joseph Boult, Architect.
Thomas Dawson, Surgeon,
T. J. Ewbank, Artist.
R. H. Grundy, Publisher.
John Hay, Architect.
W. G. Herdman, Artist.
Rev. H. H. Higgins, M.A.
H. P. Horner, Architect.
P. Mussabini, Merchant.
R. Norbury, Artist.
H. Sumners, Ai-chitect.
G. E. Taunton, Sharebroker.
H. Thompson, Merchant.
D. P. Thomson, M.D.
C. Verelst, Architect;
Bankers.
The Union Bank.
treasurer.
H. Thompson, 11, North John-street.
f^onotarg .Secretaries.
Joseph Boult, 24, North John-streeU
Dr. Thomson, G-reat George-square.
f^onorarg ILecturers.
Ancient Histor'y . Ihne, Ph.D.
Literature Eev. J. Cranbrook.
Anatomy Alfred Higginson, M.E.C S.E.
The objects of the Society of Fine Arts may be thus
briefly stated :
]. To establish an Annual Exhibition of Paintings, Sculp-
ture, and Architecture. 2. To promote sound judgment in
Art, by Lectures and otherwise. 3. To establish a Perma-
nent Gallery of Modern Art, open to the public free, and a
School of Art.
The Society will consist of Professional Members, Non-
professional Members, divided into classes according to their
subscription and privileges, and Students.
The Exhibition will be under the direction of a Committee
chosen from the Society’s Council, consisting of Professional
and Non-professional Members.
It is proposed to award the following Prizes:
1. For the best Historical Painting, in Oil, £100.
2. For the best Landscape, in Oil, £50.
3. For the best Water-colour Drawing, £25.
4. For the best Sculpture, or Model, not a portrait or medal-
lion, £25.
5. For the best Architectural Design, £25.
The Prizes will be adjudicated by the whole of the Profes-
sional Members, joined by Non-professional Members.
The Accounts will be audited by Non-professional Mem-
bers not upon the Committee.
REPOET, &c.
On Monday evening, the 8th of February, a public meeting
of ladies and gentlemen favourable to the formation of a
society, upon the basis of a prospectus prepared by the
provisional committee, was held in the letture-hall of the
Royal Institution, Colquitt-street. Theodore W. Rathbone,
Esq., the Honorary Director of the Gallery of Art, presided.
The Chairman said, he wished in the first place to congra-
tulate the meeting upon the highly respectable and numerous
attendance there, which he thought was a very encouraging
augury of the success of the movement which they had in
hand. He took the chair that evening from a hope and a
sincere conviction that that meeting was not merely brought
together to condemn another body, but to inaugurate a school
which would be but a supplement to the movement which,
nearly half a century ago, was begun in that building by that
great and good man whose name could not be uttered in
Liverpool without feelings of respect and affection. The re-
sult of his exertions, conjoined with other noble spirits, was,
that we had now a collection of early art paintings which
might challenge every cis-Alpine country. We can show the
first rude drawings of the Byzantine period, emanating, how-
ever, from the true fervent spirit which is the soul of all real
art ; we can show the gigantic strides made by the school of
Massaccio; we can show the glorious perfection of art under
the inspiration of Raphael ; and we can show paintings which
illustrate the not less instructive lessons which marked the
strange decline of art ; and we hope, ere long, that our gallery
will possess good illustrations of its modern revival. With
such a beginning, Liverpool ought to follow in the path so
clearly indicated. Liverpool ought, and he believed would,
carry out the present scheme as the natural result of what
has previously been accomplished ; and, should it succeed,
he should consider the Society of Fine Arts as nothing but a
proper and legitimate complement and supplement to the Per-
manent Gallery of Art, in which he had taken a warm and
active interest. He thought the contemplated Permanent
6
Gallery of Art was one which did a great honour to the town
and neighbourhood, but it was one which would not long con-
tinue to be honourable if it did not lead to such results as that-
As far as he could judge of the plan proposed it appeared to
be most excellent ; but as to the society being carried on by
the Royal Institution, that was out of the question. The
gallery of that institution was already noted for the riches it
possessed ; they were constantly making additions to those
riches, and they had not room to attempt to give an exhibition
of modern art. He concluded by reading the prospectus sub-
mitted by the provisional committee, which stated the objects
ot the society to be “ the establishment of an annual exhibition
of paintings, sculpture, and architecture ; the promotion of
sound judgment in art by lectures and otherwise ; the educa-
tion of students in fine arts ; the establishment ot a perma-
nent gallery ot modern art, to be vested in the Town Council
as trustees, to be exhibited free of charge.”
The Secretary then read numerous letters received from
artists who had been written to on the subject of contributing
their works to the new exhibition. (A selection is printed in
the appendix.)
Mr. T. M. Mackay rose to propose the first resolution.
Before doing so he said he would beg it most distinctly to be
understood that, although he was an enthusiastic admirer ot
the fine arts, he did not profess to be an authority ; and he had
therefore ventured to come forward that evening simply to
vindicate the right of the intelligent people of Liverpool to
think and judge for themselves. (Applause.) When he came
to Liverpool, about 25 years ago he remembered there were
two or three pigtails on the Exchange and as many pairs of
top-boots ; and what would have been thought if those
venerable relics of former days had formed themselves into
an Academy of Costume, and insisted that all their fellow-
townsmen should appear in the same rig ? (Laughter.) Yet
this, he contended, was very similar to the attitude which the
Liverpool Academy had assumed towards the inhabitants of
this town. (Hear, hear.) A short time ago he saw in one of
the local papers a copy of a letter from Mr. Ruskin, intended
as a quietus upon the rising indignation of the good old town,
p'ar be it from him to enter the lists against such an eminent
man as Mr. Ruskin, but even his friends would admit that he
was ambitious to found a school of what was called Ruskin-
ism, and he (Mr. Mackay) was quite satisfied that his writ-
ings upon architecture would be valued much more than
those on the eccentricities of Millais and Hunt, and other
painters of the same school. (Applause.) Unquestionablj',
the works ot those artists afforded abundant evidence of great
genius, but the regret was that that genius was so entirely
misdirected. Once upon a time nobody enjoyed a little
horseflesh more than he did, but he must confess that his
respect for the equine species and for the things of old had
been considerably modified since he had seen the black steed
on which Sir Isumbras rode. (Applause.) There was a
time, too, when they all thought a Dutch Noah’s Ark, price
one shilling, contained the finest sculpture in the world ; but
when they ceased to be children they put away childish things,
and they expected that such eminent men as those whom he
had named would pourtray nature through the medium of their
senses, and not through the frenzy of a monomania. (Hear,
hear, and applause.) The imputations which had been made
against the Liverpool Academy testified the necessity of
enlarging the tribunal of public opinion in matters of art, and
letting those who looked to them for rewards and honours
fieel that they would have a fair stage and no favour. (Ap-
plause.) The resolution he had to move was:
That in the opinion of this meeting the taste and interest
of the town in the Fine Arts are not adequately represented by
any existing institution ; that it is highly desirable that this
important deficiency should be supplied : and, therefore, that
a Society be and is hereby formed for that object, on the basis
of the prospectus submitted to this meeting ; and that it be
called The Literpool Society of Fine Arts.
Jlir. Henry A. Brioht seconded the resolution, though he
said he thought it required no seconder after the eloquent
speech they had just heard. In point of fact he believed the
resolution had been already passed by the public opinion of
Liverpool, by the public voice of the press, and the best art
critics in London and Europe. He had hopes that this new
academy would do a great work for Liverpool. They required
to know more of the fine arts in Liverpool ; the little germs of
taste that were in them were stimulated by the Manchester
Exhibition, and he thought they should take advantage of
that wind to assist them in the formation of a new academy
which should be worthy of their town ; and he looked most
especially with pleasure upon the thought of having a per-
manent gallery of modern paintings of their own in Liverpool.
He could conceive no way by which the taste of the people in
the fine arts could be so stimulated as by such a permanent
gallery, increasing year after year, by their choosing for them-
selves pictures which were year after year exhibited before
8
them. It was true that in the permanent gallery of art they
would not be able to have specimens of many of those they
admired so much in the Manchester Exhibition; but they
might have specimens of other great and noble artists, other
great and true men, and specimens also of the great painters
of the pre-Raphaelite school— Millais, Rossetti, and Hunt.
(Applause.)
Mr. Joseph Boult moved,
That a Provisional Council be appointed to pi'epare a code
of laws for the management of the society ; to appoint
the honorary lecturers and treasurer, and to make other
arrangements for securing its objects, for which purpose
they shall have the disposal of the society’s funds ; that the
laws, together with a report of the financial and other pro-
ceedings, be submitted to the first annual meeting of the
members, to be convened within twelve months of this date,
when the whole of the Provisional Council shall go out of office,
but be eligible for re-election.
The best critics of art, he said, were an educated public,
artists themselves being more or less pedantic. In criti-
cisms upon architecture, Mr. Ruskin had been guilty of
the grossest inconsistency that any writer could be guilty
of. In the “ Stones of Venice ” they would find con-
siderable contradiction. He maintained that Mr. Ruskin
was not consistent in his rules of criticism ; that, in fact, he
had no rules of criticism whatever, and therefore it was impos-
sible for him to be consistent. The misfortune was that Mr.
Ruskin, with his fine talent and eloquent language, should
allow himself to be carried away by the force of his language
into the gross inconsistency and contradiction with which his
works abounded. In his “ Political Economy and Industrial
Art,” the substance of two lectures delivered at Manchester,
they would see how he maundered about, advocating the crudest
schemes of social reform, which had over and over again been
proved to be absurd and utterly impracticable. They would
not bow the knee to Mr. Ruskin, although he aspired to the
papal chair, and they would have no popery” in art any
more than in anything else. If, as it had been said, the
public were not judges of art, for whom did artists paint
pictures ? Artists seldom purchased pictures from each other,
and it was amongst the general public that they expected to
find patrons and purchasers of their works. The course
adopted by the Liverpool Academy, and the remarks made
upon its introduction of the new school of pre-Raphaelitism,
had all done a great deal towards the advancement of public
taste on the subject, by the inquiry they had called
forth. He thought it was a narrow-minded policy for
0
artists to say they would not allow the general public
to have a voice in the management of such societies,
and the promoters of the new society were extremely
desirous that the managing body should be formed of
the representatives of the different classes of the commu-
nity in Liverpool — liberal, well-educated men of all] classes
— associated wivh artists; that instead of its being a close
corporation, consisting of self-elected members such as the
constitution of the present academy, the council should
be a representative body appointed by the subscribers, who
should hold the managing body responsible tor the course they
might pursue in any way whatever, and that they should an-
nually present to the subscribers a report of their proceedings.
The gentlemen who were proposed to form the council,
he had no doubt, if it was the pleasure of the meeting that
they should be appointed, would do everything in their power
to forward the objects for which the society was being estab-
lished.
The resolution, seconded by Mr. Norbdry, was unani-
mously adopted.
Professor Archer, in proposing the names of the gentle-
men to constitute the provisional council, said he was pleased
to see, on looking over the list, that the principles which had
been advocated that evening had been borne in mind in the
selection which had been made. The list contained the names
of gentlemen, he believed, of almost all professions, and he
was glad to see that some of them were architects. It was not
long since an architect stated in that building that architects
were incompetent to decide in matters of art ; but he was in
hopes that after being drilled in on that council for twelve
months they would be competent.
Mr. Alderman Bennett seconded the adoption of the list
proposed, saying that he trusted some of the nine members of
the present Liverpool Academy, who did not wear top boots
and pigtails, would come out of the Noah’s Ark and join the
new society, and expressing a hope that the merchant princes
would contribute largely to the finances of the society.
Mr. Greenwood wished to make a suggestion. There
was an infant branch of the art the promotion of which was
not included in the scheme which had been laid before them,
but which he thought ought to be included in all new schools
of art. In the Manchester Exhibition it was fully recognised.
He alluded to the photographic art, beautiful specimens of
10
which had been exhibited from time to time. On the conti-
nent, and in this country, this art was rising rapidly, and he
would suggest that it should be recognised in the new society,
and that some gentleman connected with it should be
placed upon the provisional council, (Hear, hear.)
The Chairman said he was quite sure such a valuable sug-
gestion would not be allowed to fall to the ground.
The resolution was then put and carried.
A list of noblemen and gentlemen was then submitted, who
were requested to act as president and vice-presidents for the
current year, and this list, on the motion of Mr. Foard, was
unanimously adopted.
On the motion of Dr. Ihne, seconded by the Rev. Mr.
Gardner, it was unanimously resolved that Mr. Joseph Boult
and Dr. Thomson be requested to act as honorary secretaries
to the society.
A vote of thanks was then passed to the chairman, on the
motion of Dr. Thomson, and the proceedings terminated.
CLASSES OF LAY-MEMBERS.
CLASS 1. — One Guinea Subscribers — To receive admissions
to the Society’s Exhibition and Lectures for a
Gentleman, Lady, and four Children under 21 years
of age.
,, 2.— Ladies Subscribing Ten Shillings each— To he
admitted, with two Children under 21 years of age,
to the Exhibition and Lectures.
3, — Hale-a- Guinea Subscribers — To receive admission
to the Exhibition and Lectures. (Gentlemen.)
4. — Subscribers of Five Shillings— To receive ad-
mission to the Exhibition and Lectures. (Ladies.)
6.— Boarding School Pupils Subscribing Half-a-
Crown— To he admitted to the Exhibition and
Lectures; the Principal or Teacher accompanying,
to he admitted free.
6.— Exhibition Season Ticket-holders— Gentlemen,
5s. ; Ladies, 3s. 6d.
Donations of ten guineas and upwards, shall confer the
privileges of life membership.
11
APPENDIX.
LETTERS FROM ARTISTS.
Mrs. W. Oliver presents lier compliments, and begs to infoi-m
the gentlemen on the committee of the proposed “ Liverpool
Society of Fine Arts,” that she will be most happy to contribute
her works to the Exhibition.
3, Martindale-terrace, Watford, Feb. 6, 1858.
London, Cavendish-road, St. John's Wood, Feb. 5, 1858.
Gentlemen, — It will give me great pleasure to send as many
pictures to your exhibition as I can. I need not add that I will
have the same pleasure in having my name among the gentlemen
favourable to jour new society. I am, gentlemen, your obedient
servant, Thomas Faed.
4, Camden-square, Camden-road Villas, February 5th, 1858.
Sir, — In answer to your communication, I am glad to hear of
the formation of a new School of Art in such an important town
as Liverpool, and particularly at a time when 1 may say almost
universal dissatisfaction has been expressed by my brother
artists respecting the recent award at the old institution.
I shall be most happy to co- operate with the committee in their
undertaking, and will make a point of sending one of my most
important pictures to the first exhibition of the new society. I
am, sir, yours truly, Frederick Goodall.
London, February 2, 18.58.
Gentlemen, — I have received a circular signed by you, from
which I find there is a disposition to establish a new society for
the advancement of art in Liverpool ; and the reason you give
for the proposed change is “ the manner in which the prizes have
been awarded by the Liverpool Academy for several years past.”
In common with most of my brethren here, I have heard with
surprise and disgust of the recent awards, and I think it my duty
to lend my name and support in every way to a new society which
starts in opposition to that which seems bent on the perpetration
of a yearly piece of injustice. You are welcome to make any use
of this letter that you please, and you may rely on my doing my
utmost to send a picture to your first exhibition. I am, gentle-
men, faithfully yours, W. P. Frith.
To Messrs. Boult and Herdman.
238, Mary-le-bone-road, London, N.W., February 5, 1858.
Gentlemen, — In reply to your circular of the 1st instant, I
am not able to judge of the leading grievance of the distribution
of prizes from the Liverpool Academy for the last several years.
But as I had the gratification to be on a visit to my friend, Mr.
Potts, last autumn, I then had an opportunity of seeing the
modern exhibition of pictures, some of which I cannot resist
this occasion for declaring, I considered infinitely more worthy of
admiration, as works of art, than the picture intended to represent
an old’ knight with two children on a black horse ; or that of twa
girls sitting on a landscape, by the same hand !
1 can only hope that the result of your present intention may
be successfal, and beg to say that my name is at your service, as
12
favourable to your views. I beg to say, also, that if I have any
pictures which I can spare for your exhibitions, I shall be happy
to allow them to be forwarded hereafter. I have the honour to
be, gentlemen, your obedient and humble servant.
Sir George Hayter.
To Joseph Boult and W. G. Herdman, Esqrs., Prov. Secs.
Vernon Hulme, near Canterbury, Kent.
4th February, 1858.
Gektlemex,—! have received your circular and programme
here, and beg to state I highly approve of your step to form
another Fine Art School ; and Sso to assure you, it will not be only
a pleasure, but a duty, to support it in the best way I can, by
sending one or more pictures yearly to your Exhibition. And
believe me yours faithfully, Thos. Sidney Cooper.
Messrs. Boult and Herdman, Livei'pool.
18, Gower-street, Bedford-square, Feb. 3, 1858.
Dear Sir,— In reply to your favour, with enclosed prospectus
of the new academy you have in contemplation, I beg to say that,
if the principles therein laid down are carried out in the just and.
liberal manner promised, I shall do all I can to further it with my
artistic Mends, as also with my own works.
Wishing the promoters all success in the undertaking, lam,
dear sir, yours faithfully,
A. Solomon.
G. Herdman, Esq., Prov, Sec.
10, West Clifton-terrace, White Ladies-road,
Bristol, October 22, 1857.
Gentlemen, — If my name will be of the slightest use, jiray
add it to the list.
I shall be most happy to do my best to send you works for your
exhibition; and am glad to hear of your intention to establish a
new Society, as I think, to say the least of it, the conduct of the
Liverpool Academy has been very one-sided and unfair. I am,
gentlemen, yours faithfully, Charles Branwhite.
Edinburgh, 1, Blenheim-place. Feb. 5, 18-37.
Gentlemen, — I received, with great pleasure, your circularof
1st instant, with programme of Liverpool Society of Fine Aits.
I think we have much reason to be displeased, not only at the
manner in which the prizes have been awarded at the Liverpool
Academy, but at the treatment many valuable works have re-
ceived by the 'places allotted to them on the walls ; and from the
strong feeling I have always heard expressed among artists and
lovers of art here, feel assured that your proposed institution,
particularly founded on such a basis, will be heartily welcomed,
and its claims, which I think must recommenditto every painter
and true patron of art, are sure to be warmly received and
responded.
I have very great pleasure in allowing' my name to be added to
your list, and beg to assure your committee that I shall consider
it my duty to aid, as much as in my power, both by contributions
of my works, such as they are, and by bringing all theinfluence I
may possess with others to bear upon the interest and promo-
tion of your proposed institution.
Please accept of my best thanks, as a painter, for the wai-m
interest in art and artists manifested by your committee.
Warmly wishing you and the proposed institution the highest
success. I am, gentlemen, yours most truly,
Erskine Nicol, A.E.S.A.
To the Provisional Secretaries of the Liverpool Society of
Fine Arts.
13
Tor Villas, Cainpden-hill, Kensington, W.
February 6tli, 1858.
Gentlemen, — In acknowledging the receipt of your letter and
the programme of the Liverpool Society of Fine Arts, I have no
hesitation in saying that if “ the manner in which the Liverpool
Academy prizes have been awarded for several years past has
been displeasing to a large majority of the most influential
patrons of art ” in Liverpool, it has been equally so to the great
body of artists and lovers of art in London and other quarters.
Believing as I do, that the Liverpool Academy has done excel-
lent service to the general cause of art, as well as to its local en-
couragement, I most sincerely regret that it should have been of
late, so unduly biassed in its public acts. I should have hoped
that this evil existing in a body like the Liverpool Academy
would have corrected itself, and still trust that it may do so, and
division and party feeling be avoided in so peaceful a question as
that of the Fine Arts. If unhappily, however, this should not be
the case, then such a movement as that now proposed would, 1
am sure, meet with all the support and encouragement it would
so richly merit, and I for one would most gladly do all in my
power to assist the cause. I am, gentlemen, your obedient
servant, J. C. Horsley.
To Messrs. Boult and Herdman.
11, Upton-park Villas, Slough, 6th Jan., 1858.
Sir, — I approve exceedingly of the intended establishment of
a new society for the propagation of the Fine Arts in Liverpool,
and shall be most happy to give it my support by sending any
works I may be able to contribute to the exhibition. I am sir,
your obedient servant, E. M. Warp.
Joseph Boult, Esq.
4, Grove End Eoad, N.W., 2d Feb. 1858.
Gentlemen, — It is with the greatest pleasure that I And from
your circular of the 1st inst., that a new School of Art is about to
be formed at Livei-pool, and with every chance of success.
Should you think that the exhibition of my works can in any
way tend to promote the interests of the new Academy, I shall
gladly send you them, and shall feel honoured by having my
name on the list of your well-wishers.
The manner in which the prizes have been awarded of late
years, at Livei-pool, has excited great surprise; and I for one
should certainly have discontinued contributing to an Academy
exhibiting so exclusive and sectarian a spirit.
I trust that the new Academy will be just, without being reac-
tionary, and that J-he somewhat hackneyed motto of “ Palmam qui
meruit ferat” may be honestly carried out. I remain, gentlemen,
yours very truly, E. Armitage.
14, Ladbroke Villas, Notting-hill, Feb. 4, 18.58.
Sirs, — I shall be happy to contribute and give my support to
the New Liverpool Exhibition, as soon as it is formed. 1 remain
your obedient servant, William Duffield.
Brunswick-road, Liverpool, February 4th, 1858.
Dear Sirs, — In reply to your circular note of the 1st instant,
I beg to assure you that I am most decidedly favourable to the
establishment of a new Society of Fine Arts in Liverpool, being
fully cognizant, from personal experience, of the deficiencies of
the old one, and how inadequately it represents, as your pro-
gramme expresses it, the taste and interest in art of this great
community. I give you full permission to place my name on the
list of artists or others favorable to the scheme; and, should
14
your praiseworthy endeavours be crowned with success, of which
I have little doubt, I shall have great pleasure in contributing to
the Exhibition as many of my works as I can collect together. I
remain, gentlemen, yours, W. Huggins.
To J. Boult and W. G. Herdman, Esqrs.
5, Percy-street, Bedford-square, February 5, 1858.
Sir, — With much pleasure I acknowlege the receipt of your
circular, and beg to say that I shall he most happy to send you
some of my Pictures for the next Exhibition whenever your
arrangements are made to receive them. If I could ascertain the
exact time of your opening, I promise to paint one expressly for
your Exhibition. EespectfuUy yours, S. Bendixen.
8, Chester-square, BelgTavia, 5th Feb.
Gentlemen, — In reply to the circular addressed to me on the
subject of the proposed Society of Fine Ails, I beg to say that
the measure is one which wiU have the approbation of the great
body of London artists, who, I trust, are not infected with the
\e¥ot p)'e-Raphaelism ; and if a suitable position is assigned
to Water Colour Art, which its growing influence demands,
I have no doubt that the members of the Old Water Colour
Society will contribute largely, if a place equally good to that
assigned to the oil pictures is offered them for the display of
their w^orks. In the provinces everywhere that has not (hitherto)
been the case, and as a natural consequence no effort has been
made by Water Colour Artists to place their best works before
the public, for it is high time that the vulgar error, i.e., that “ oil
is the more ‘noble’ vehicle of the two” should be dispelled.
We must stand on equal ground. On these conditions I shall do
my best to influence my brother artists in the body to which I
belong. 1 am, gentlemen, your obedient servant,
W. COLLINGWOOD SMITH.
To Messrs. Herdman and Boult.
Bella Terre ViUa, Starch-green,
Hammersmith, Feb. 6, 1858.
Gentlemen, — In answer to the circular which you have been
kind enough to send me, I beg to say that I shall be most happy
to contribute some of my humble works to the exhibition of the
Liverpool Society of Fine Art. With best wishes, believe me,
gentlemen, very sincerely yours, Charles Dukes.
Joseph Boult and W. G. Herdman, Esqrs.
London, 13, St. James’s-place, St. James’s, Feb. 6, 1858.
Gentlemen, — My friend,Mr. JohnDobbin,of 2, Milan-terrace,
Battersea, being abroad making sketches for a very important
commission which he has received, his wife has handed me your
circular, with a request that I should write you authorising her
husband’s name to be added to the list of exhibitors to the pro-
posed new Society of Arts in Liverpool ; in fact, not long before
Mr. Dobbin left, we had several conversations on the subject of a
new Institution, as it had become patent to the artistical world
that there was much in the existing “ Academy” to be remedied,
and by very vigorous measures too. Having myself been resident
in Liverpool upwards of 20 years, and intimately connected with
the Fine Arts during that period, I have some knowledge of what
so important a town requires for its artistic tastes ; and without
further allusion to the misjudged acts of the members (or a ma-
jority of theml of the Liverpool Academy, there can be no doubt
that an Institution founded on the broad and liberal basis speci-
lied in the prospectus in my possession, must succeed, if con
ducted with ordinary discretion. But you must excuse me
saying that there has been a serious omission in that prospectus,
although I conclude it is only a preliminary one — viz., the absence
of the names of the patrons and leading supporters. This point
has been much canvassed here among artists, and already a mal
influence is at work, but so weak in comparison with the strength
of the object it seeks to undermine, that it may easily he counter-
acted. Let the artists of London and elsewhere be once assured
of the stahiUtij and unquestionable impartiality of the manage-
ment, and they will freely send their works for exhibition. So
thoroughly impressed am I of the necessity of such an institu-
tion in Liverpool, and so convinced of the good it wiU he cal-
culated to effect, if carried out on the plan proposed, that I shall
have much pleasure in rendering the Committee any assistance
in my power, which, as a resident here, and being solely engaged
in the Fine Arts business, I may be able to do to some good pur-
pose, — I mean yratuitously . I think the remarks in this day’s
Athenceum will be of service ; and it is gratifying to see the edi-
tor still takes an interest in “ the good old town.” T have two
most important works, on a grand scale, and most elaborate in
subject and finish, of Mr. Dobbin’s, which shall be at the service
of your committee for the first, if they shall be on hand at the
time. They have not yet been exhibited. Probably some of the
committee may be in town shortly, and if they wiU favour me
with a call , they can then see them. I shall be glad to receive any
further prospectuses you may issue, so as to be informed of the
progress made in establishing the New Society. I am, gentle-
men, your obedient servant, Joseph Palmer.
Joseph Boult and W. G. Herdman, Esqrs.
19, New Millraan-street.
Sir, — I shall, if youthink my works of sufficient importance, be
most happy to send some to your Exhibition. Wishing you every
success in so laudable an undertaking, I remain, sir, your most
humble servant, A. Cooper, E.A.
To Joseph Boult, Esq.
2, Alfred-place, West, Old Brompton, London, Feb. 7, 1858.
Gentlemen, — In I’eply to your circular, I beg to say that it
will give me great pleasure to witness the success of your new
Art Institution. I remember with pride how much I owe to the
lovers of art in Liverpool, and I am happy to find they are likely
again to have their taste and intelligence fairly represented.
Should your programme be tolerably well realized, you may be
certain of support from nine-tenths of the most desirable men in
London. I shall be happy to send from time to time such of my
pictures as are available, but I fear I cannot have anything this
year. Wishing all success to your undertaking, I am, gentlemen,,
your obedient servant, R, Hannah. ’
To Joseph Boult and W. G. Herdman, Esqrs.
The Ferns, Hyde-park Gate,
South Kensington, 10th February, 1858.
Gentlemen, — Concurring with the views entertained in esta-
blishing the new “ Liverpool Society of the Fine Arts,” I l)eg
you to make use of my name as a supporter of the Society. I
regret -that I inadvertently omitted to reply previous to the
meeting on Monday last. I am, gentlemen, yours faithfully
E. W. Cooke, A.r’.A,
16
Great Stanmoi-e, Feb. 11, 1858.
Sir, — I desire to tbank you for the favour of your letter of the
9th inst., and should be happy to have my name added to the.
list of persons favourable to the establishment of your new
Society.
Eequesting to express my best wishes for its success, which,
with such a committee engaged in its cause I cannot doubt, I
remain, sir, yours faithfully, George T. Doo, E.A.
Joseph Boult, Esq.
London, 19, Hyde Park Gate, South Kensington Grove,
Februai’y 16, 1858,
Gentlemen, — I have to apologise for the delay that occurs in
my answer to your circular. Being ignorant of Livei-pool Ai-t
Politics, I feel at a loss what to say in my reply to the request
that “I should allow ray name to be added to the list of those
gentlemen favourable to the establishment of the new society,”
as although friendly to every Art Society, I feel no hostility to
any; and it seems to me that I shall be to support the
new society by pictures which it may not be in my power to
send, as my time is now greatly taken up in Fresco painting.
However, I may safely say that I cannot approve of any exclu-
siveness such as that you aUude to, and that I cordially Avish
success to your efforts to abolish it ; and if I should have it in
my power to send you any work of mine, I shall be glad to do so.
I remain, gentlemen, your obedient servant,
W. C. Cope.
W° Secretaries.
Livei’pool, 34, Church-street, 13th February, 1858.
Sir, — It was a source of great pleasure to me that I attended
your interesting meeting, at the Institution, last Monday evening,
and, as an artist, allow me to bear testimony to the admirable
arrangements your committee have made for the new Society of
Arts. I feel satisfied it will be all we artists and the public could
desire. I look forward with great pleasure to your exhibition
season, as I hope then to contribute two or three large public
portraits — my first exhibited in Liverpool. It will afford me great
pleasure in every way in my power to advance the interests of the
new Society of Arts. Assuring you of this, believe me to remain,^
sir, your most obedient servant,
John D. Mercier.
The Secretary of the Society of Fine Arts.
C. TINLING, PP.INTER, CASTLE STREET, LIVERPOOL.
PROOF,
DESCRIPTIVE AND HISTORICAL
CATALOGUE
OF THE
PICTURES, DRAWINGS, & CASTS,
" A certain degree of historical knowledge, as regards both art itself and its criticism, is perhaps
indispensable for the due appreciation of some works; the merit of which, depending on the time and
circumstances of their production, is in a great measure relative. The information thus offered, without
superseding individual predilections, may sometimes assist in the formation of a correct judgment,
which is the basis of a correct National Gallery Catalogue^ 1856, hy Mr. Wornum arid Sir
Charles Eastlake.
IN THE
OF
THE ROYAL INSTITUTION,
COLQUITT STREET, LIVERPOOL.
PRICE SIXPENCE.
LIVERPOOL ;
PRINTED BY GEORGE M‘CORQUODALE k CO.,
38, CASTLE STREET.
1858.
THE GALLERY IS OPEN FROM TEN TO SIX O’CLOCK IN THE SUMMER, AND FROM
TEN TILL DUSK IN THE WINTER SEASON.
ADMISSION ONE SHILLING.
Also by a Written Order from any Proprietor.
Free of any Charge the first and third Monday in each Month, and for Threepence
the Friday and Saturday previous.
DESCRIPTIVE CATALOGUE, PRICE SIXPENCE.
ADOKESS.
It has for many years been an object earnestly contemplated by a few lovers
of Art in Liverpool to establish a Permanent Gallery, which might be a
source of gratification to the public in general, and information to the profes-
sional student. Several plans to effect this desirable purpose having failed,
the Committee of the Royal Institution, contemplating the great utility of such
an establishment, resolved, in the year 1839, to propose to the Proprietors to
devote a part of their funds to the erection, on the site of their own land, of a
suitable building. The recommendation of the Committee was acceded to,
jind at a general meeting of Proprietors, held in February, 1840, it was resolved,
“ That the sum of i/1,200 be appropriated by this Institution towards the
“ formation of a Permanent Gallery of Art, provided the efficient co-opera-
“ tion of the Town at large, in supplying the remainder of the necessary
“ expenditure, can be procured.”
The Committee of the Royal Institution further agreed to place in The
Gallery their Collection of Casts from the Antique Marbles, and the series
of Pictures^ exhibiting the progress of the Art of Painting from its revival,
which had been collected by the late lamented Mr. Roscoe, and which, on the
dispersion of his collection, were purchased by some friends and presented to
the Royal Institution, in the establishment of which Mr. Roscoe had taken a
principal part.
It may be considered that the possession of these unique specimens of early
Art was the primary inducement to the Royal Institution thus to appropriate
a part of their funds ; and, with some additions to the Roscoe Collection, by
present and purchase, for both of which the Institution is indebted to the
liberality and the judicious agency of Mr. Winstanley, they are now enabled
to place before the public a most instructive series of specimens (which no
other Provincial Gallery can boast), illustrative of the Art of Painting from
the revival of that Art in the 13th to the perfection of the 16th century,
especially in the School of Florence, where it was cradled and nursed, and of
Venice, whose encouragement of the Painters of Greece when strangers and
fugitives, is not less to be admired than the rapid advancement of her own
great masters from the imbecility of infancy to the luxuriant perfection oi
artistical power.
The specimens of the early German, Dutch, and Flemish Schools have also
been rendered more valuable by some additional works of those able colour-
ists, — the series now ranging from John Van Eyck to Hans Holbein.
ir
The Historians of Art and the inquiring amateur are assisted in their re-
searches by these objects of interest and curiosity ; -vviiilst the common observer
must derive instruction and delight from viewing, at once, the productions of
the most celebrated masters of the different ages.
And here it may be proper to observe, that being prevented from procuring,
by the want of funds to purchase and of space to display, the larger works of
the great masters, the Committee think themselves most fortunate in having
obtained a few select specimens of a small cabinet size, which exhibit the rare
abilities of their authors, with a careful finishing not to be found in their
larger productions.
The Committee acknowledge, with grateful pleasure, the obligation of the
E,oyal Institution to the Subscribers to Sir Francis Chantreys Statue of
Roscoe, now placed, by their permission, in the Permanent Gallery op Art,
and visiters must be interested in seeing the productions of early Italian Aii;
surrounding the Statue of our celebrated townsman,* who had the taste and
judgment to select them, and who used them for the purpose of illustrating
the pages of his historical labours.
The Committee also thankfully acknowledge the contribution of several fine
Pictures, the subjects and authors of which, with the names of their liberal
Honors, are fully stated. They have also added, by purchase, such Pictures
as were thought best fitted to cultivate knowledge and taste in Art, so far as
their limited means would permit. Their present measure of success they
deem but a beginning — the laying, as it were, of the foundation stone of an
establishment worthy of its high objects, and of this great and opulent com-
munity. Adequately to effect their purpose, the general support of the public
must be liberally given. The Committee can only hope that, considering their
circumstances and powers, they will not be thought to have abused the trust
reposed in them.
The Committee, as an act of justice, takes this opportunity to give publicity
to the following minute, passed unanimously by them at a general Committee
held 13th July, 1842 : —
iieso/yecZ,— That this Committee have much pleasure in recording their great
estimation of the valuable services which Mr. Winstanley has, in so liberal and
“ judicious a manner, rendered to the Permanent Gallery of Art, and in express-
“ ing their grateful thanks for the zeal and ability which he has displayed in selecting
“ so valuable a Collection of Paintings on terms so advantageous to the Gallery, and
“ which without his kind and very able assistance they should have had much diffi-
“ culty and expense in procuring.”
GEORGE FRECKLETON,
President.
* Such was then tlie arrangement; but it Avas found most injurious both to the pictures
and in its geneial effect; and Chantrev's beautiful Statue of Roscoe uoav meets the
eve on entering the Gallery — by a change of position and arrangement highly advantage-
ous in every point of vi. w.
'I. W. R.
V
July, 1851.
It is nearly ten years since the above address was prefixed to the Cata-
logue of the Gallery of Art, issued on its first opening. I regret,
however, to say, that scarcely an addition or contribution of any descrip-
tion has been made, as was then urged and anticipated ; and the proprie-
tors have taken so little interest in this unique and valuable collec-
tion of art, that the Committee of the Koyal Institution have been
led to devote their income almost entirely to the other departments, and
had expended, until this last year, but little on the Gallery beyond what
was required to provide accommodation for the schools of the Liverpool
Academy, and to admit the public gratuitously on the day (now two days)
ia each month, on which the Royal Institution has proved a source of so
much rational enjoyment and instructive recreation to the many thou-
sands, who gladly and gratefully then avail themselves of this privilege of
free admission to the Collections. The Committee having lost, about twelve
months ago, their excellent Curator, Mr. Johnson, and another appoint-
ment having been delayed by the negotiations with the Town-Council,*
for throwing open, regularly and without restriction, every part of the
Institution (as at the British Museum and National Galleiy in London),
all attempts to continue and com})lete the collections of natural history in
the museunis have been, for the present, suspended. This has placed at
the disposal of the Committee the means of a little outlay on the Gallery
OF Art. The Liverpool Academy have also resolved to add their
pictures by artists of the present day, already ten in number, and which
will eventually furnish a complete series of the works of every artist of
eminence connected with Liverpool — a picture by each member of the
Academy, illustrative of his characteristics and peculiarities, as he himself
understands them, being required as a condition of the Diploma.
Another Catalogue being requii-ed. I have also, with the })ermission of
the Gallery Committee, had an arrangement of the Gallery of Art carried
into effect, essential, in my opinion, to making manifest the proper and
historic interest, and importantly instructive character, which peculiarly
belong to this curious and valuable collection. The Pictures are
arranged in the present Catalogue in chronological succession, and in
the Gallery in a series of historical groups, under the successive
* These negotiations between Committees of the Town-Council and of the Royal Insti-
tution, led to an arrangement, satisfactorily to both parties, and most advantageously to
the public, accomplishing all the important objects in view, and the Bill to give tliem
legal sanction, having been well considered by the legal advisers of both parties (Mr.
Shuttleworth, the Town Clerk, and Messrs. Stanistreet and Eden), and settled by Counsel,
was introduced into Parliament, and read without opposition a first and second time. It
would have provided, without expense to the To vn, a temporary place of deposit for the
Derby Museum, in connection with the fine collections of the Royal Institution, and by
placing the whole, as proposed on the part of the Town-Council, under the management
of a joint Committee, it would, with a, very small portion of the expense that has since
been incurred by the Town, have enabled that Committee to provide for the magnificent
building in contemplation, one of the finest and most complete and interesting of Museums
in every department of science and art. Unfortunately, and most unexpectedly, and at a
very thin meeting of the Council, a vote was given to withdraw the Bill, advanced as it
then was, and unopposed ; the Mayor and all the Members of the Library and Museum
Committee of the Council, and probably every Member who had given any attention to
the subject, voting in the minority !
T1
centuries and scliools of painting, so as to render tliem strikinglv
illustpative of tlie exact progi’ess, tlie suceessiTe steps in the history
of art, from the dark ages until the preseiit time ; and at the same
time, by this classification and grouping of the pictures in their
proper schools, something, perhaps, of that gratifying general effect is
given to the Gallery, which is accomplished in a flower-garden by
throwing together masses of flowers of the same description. It is an
altogether peculiar feature of this collection that it thus exhibits so complete
a general view of the state of art at each successive ]^)eriod of time, both
north and south of the Alps j whilst in the magnificent historic series
of pictures at Florence, the spectator must, for this view, recur to the
works of each period, wholly separated under the heads of the diflerent
countries and schools of art, instead of being, as they ai’e here, all ranged
together in the groups belonging to each successive century.
As far as the restricted limits of the Catalogue would admit, I have
endeavoured to call attention to the peculiar chaiucter of each gi'oup and
distinguished artist, and to indicate the progi'ess or decline exhibited.
TTith some slight modification, to suit the peculiarities of this collection,
the general arrangement will be found that of Laxzi in the Italian
Schools, and of Kugler, both in these and the Gennan, &c. I have
also ventured to suggest a question as to the nomenclature of the former
catalogue, in several instances in which there can now, I think, be little
doubt that the names ascribed to important pictures were eironeous.
The knowledge and skill acquired by the illustrious founder of this
collection. Me.. Roscoe, and by Mr. Wixstaxlet, author of the last
catalogue (based on that by Mr. Roscoe of his own original collec-
tion), were remarkable and highly honourable to then ; but their ac-
quaintance with the undoubted works of the early masters and tlieir
peculiar styles, having been entirely derived from prints and a few of the
fine originals we now possess in this country, whilst I have almost always
preserved a record of their views in the present Catalogue, there is now gene-
rally given to these pictures what appeared to me their proper designation
and correct position. jS’umerous extracts and opinions are also inserted
in this Catalogue, from the comments of connoisseurs and critics of the
liighest eminence and authority — Vasari, Laxzi, Fiorillo, Reynolds,
Fuseli, Pilkington, Bryan, Passavant, Dr, Kugler, Dr. Waagen,
Sir Charles Eastlake, Sir Edmund Head, and that most delightful of
writers on art, Mrs. Jameson; and, to avoid complaints often and per-
haps a little unjustly made, when time may have led to change of opinion,
no quotation is ever given but in the author’s own words, whatever the
language he employs. The notes marked G. S., are contributed by Mr.
George Scharf, Jun., from obseiwations during a short visit in 1850.
Tlie criticisms of Sigxor Cavalcaselle are important on account of the
very great practice and experience he has had in examining the early
works of art of his native countiy. Mr. 0 Keil’s judgment is also
founded upon long practical experience and intimate knowledge of
jiictures.
Neither the value nor the intei-est of the collection will, I think, be
injured by this candid indication of what really is. and murt often be left,
Ml
doubtful, and by thus putting visiters into a j^osition to form opinions
for themselves.
This Liverpool Gallery offers, to an extent which no other in this
country has yet attempted^ an illustration both of the history and pro-
gress of ANCIENT AKT, known to us through SCULPTURE, and
shown in the series of Casts of the ^GINA, ELGIN, PHIGALEIAN,
AND OTHER MARBLES — and of ART, since its revival, indicated
by this most interesting SERIES OF PICTURES ; — originally due to
him whom Dr. Waagen has justly described as one of the few men in
England from whom the deep intellectual value, as well as moral and
religious significance, of the works of Art of the Fourteenth and Fifteenth
centuries was not concealed — Liverpool’s most distinguished citizen —
WILLIAM ROSCOE.
THEODORE W. RATHBONE, President.
- 1857.
p.S. — The large edition of the following Catalogue, published in 1851,
being entirely exhausted, and the chronological arrangement of the pic-
tures in a series of historical groups, both in the Catalogue and in the
Gallery, having proved eminently successful in exciting increased interest
and attention on the part of artists and connoisseurs and the public, a
carefully revised edition of this Catalogue Raisonne has been prepared,
with the corrections and more matured and carefully considered views of
many of the authorities already cited, and more particularly with several
very valuable additions by Dr. Waagen, Mrs. Jameson, and Mr. Scharf.
The Catalogue of the National Gallery by Mr. Wornum, revised by Sir C.
Eastlake, has also furnished some useful extracts ; but the inferiority in
arrangement, and consequent practical utility, of this otherwise abty
executed work, of that of Dr. Waagen for the Royal Collection at Berlin,
and of Gallery Catalogues of this description generally, is obvious, and
surely unquestionable. Nor can it be sufficiently regretted that so
important and useful a plan of arrangement and classification was so very
imperfectly adopted even in the Catalogues and Gallery of the great Man-
chester assemblage of the Art Treasures of Great Britain ; — where an
almost inconceivable increase of interest, information, and enjoyment, as
well as saving of time and trouble in perpetual references, would have been
the result of throwing together, and in their exact succession of time, at all
events in the Catalogue, and, as far as possible, in the rooms, the works
of each successive artist — grouping similarly each of the successive
Schools and periods of Art, and affixing corresponding labels to the pic-
tures themselves. A more extensive change has now been also made in
the names of the masters aflixed to the 'pictures. The views of
Mr. Roscoe and Mr. Winstanley on this subject may still be learned
by reference to the extracts from their original Catalogues ; but where
the erroneousness of these can scarcely be considered doubtful, venera-
tion for deserve«lly respected names must no longer be allowed to interfere ;
Till
and althougk the Catalogue will show that in some cases considerable
difference of opinion still exists amongst the highest recent authorities,
and even between their first and second impressions, the name of the
master supported by the present prevailing judgment of the many
connoisseurs of large experience and skill, who have in the last six years
carefully studied and examined the collection, is that now in every instance
affixed. This has been largely, though not uniformly, on the high authority
of Dr. Waagen, whose claim “to have pursued his researches with equal
enthusiasm and desire for truth,” cannot certainly be disputed. But his
own words, “ that with all the experience in the study of the art which
he has now gathered, he would not have it supposed that he assumes the
least infallihility in his judgments^' shoiild be borne in mind by those who
merely look to these names, and will not take the trouble of consulting
this Catalogue RaisonnI for the views of others, and the grounds for their
different and often strongly supported conclusions. Dr. Waagen’s can-
dour in “altering many of his recorded opinions, and more closely inves-
tigating others,” is most commendable, and constitutes the strongest of all
claims to confidence and respect ; but still, it may be well to bear in mind
the just and important observation of Dugald Stewart (I cannot at this
moment recollect or find the exact words), that second thoughts are not
always entitled to the authority popularly claimed for them, and that
third thoughts will sometimes be found to coincide with first, and prove
after all correct. This observation may be found, perhaps, to apply
to the curious picture, N^o. 63, which Dr. Waagen formerly pronounced
quite positively to be a Holbein, an opinion to which (with almost every
high authority, it will be seen on reference to page 29, but his own) /
venture still to adhere, to the Giorgione, No. 88, and some others. The
advantage of a Catalogue honestly recording these undecided questions and
difierences of opinion, (instead of assuming categorically and positively in
every instance to determine the Master,) and thus enabling and inducing
every one to examine the collection with the comments, and as it were in
the company, of those most conversant with art, has however now, I think,
been clearly established. To lead men to think for themselves is surely of
more importance than even to give positive knowledge, and far better, of
course, than an assumption of the semblance and pretence, where it is not
to be had.
T. W. R.
GENEEAL AEBANGEMENT AND CEASS1JGCA170N
OF THE
GALLERY OF PICTURES.
THE NUiMBEKS IN THE CATALOGUE ALMOST ALWAYS INDICATE THE EXACT
CHRONOLOGICAL SUCCESSION.
The farthest End of the Gallery is devoted to the THIRTEENTH,
FOURTEENTH, and FIFTEENTH CENTURIES. These pictures
are arranged in four successive Groups, or Schools, from left to right —
illustrating the progress of art from its first early development until the
period of its highest perfection.
The whole of the great works of the SIXTEENTH CENTURY,
are arranged in five Groups, under the various Schools of GERMANY,
FLANDERS, and ITALY, on the right-hand side of the Gallery.
Those of the SEVENTEENTH CENTURY, in ITALY, SPAIN,
FLANDERS, and HOLLAND, occupy the left side of the Gallery.
The EIGHTEENTH and NINETEENTH CENTURIES occupy
the end of the Gallery as you enter.
Almost the only exception is, that some of the larger pictures of the
SEVENTEENTH CENTURY, extend over the upper portion of one
of the ends of the Gallery, as will be at once obvious ; and that some of
the later artists of the Eclectic Schools of the Sixteenth Century are
included in the Group on the Sixteenth Century Wall, though strictly,
extending rather in point of time, into the Seventeenth Century.
ON ENTERING THE GALLERY,
Sm FEANCIS CHANTEEY’S STATUE
OF
WILLIAM ROSCOE, ESQ.,
IS AT THE HEAD OF THE STAIRS —
And the Wedgwood Facsimile (modelled by Flaxman, and the last and
finest work of the great unrivalled potter of modern times) of the
celebrated Barberini or Portland Yase, discovered in a sepulchral
chamber or vault under the Monte del Grano, in the neighbourhood
of Eome.
and on the walls—
A fine Drawing of the Death of Cardinal Beaufort, by the late Profes-
sor Fuseli. — See No. 148.
A fine Drawing of St. Michael and the Fallen Angels, by John Gibson.
Eighteen valuable Cartoons in Black Chalk, by George Romney, a
Lancashire artist . — {See Nos. 150 to 167 — page 60.)
Two small Chalk Drawings, by Jean Baptiste Greuze. — {See Nos.
142 and 143 — page 59) — which, with the water-colour drawings on
the opposite wall, may, it is hoped, lead to a more complete
illustration of this beautiful branch of English art, and of the
popular cabinet pictures of the genre painters of the Dutch,
Flemish, French, and English schools.
CATALOGUE
THIRTEENTH AND FOURTEENTH CENTURIES.
The first group, on the left-hand side of the farthest end of the Gallery,
consists of thirteen very curious, rare, and interesting pictures, illustrative
of art up to the clo.se of the Fourteenth century — undoubted examples of
the period to which they are referred, though there may be a question as
regards some of them as to the artist and exact date.
The pictures of this and the next period are characterizedi by a deep
religious sentiment, seen especially in the heads and gestures. The
technical execution is hard, and the drawing generally stiff and uncouth.
— ( Dr. Wangen.)
GREEK, and what is called the BYZANTINE, and the old FLOEEN-
TINE and SIENESE SCHOOLS.
No. 1 , A Head of a Saint — in a circle. St. Peter.
No. 2 . The Companion Picture. St. Paul.
Size — 11 inches.
“ These pictures are of a very early period, and probably the work of some one
of those GREEK artists who, flying from the scenes of war and turbulence in
the East, found a welcome in Italy, where they made designs for Mosaic, and
painted the characters of Christian Saints, &c., and whose works, though
rude and incorrect, stimulated the Italians first to imitate, and shortly to
surpass them.” — {Old Catalogue)
“Belong unquestionably to the old SIENESE SCHOOL, about 1300.”
( Waagen)
No. 3, The Holy Virgin holding a crucifix in her arms.
Size — 1 foot 3 high, 1 foot wide.
“ A very peculiar conception of the Mater Dolorosa.” — {Mrs. Jameson)
“ Of a much later date than the two preceding pictures — probably of the
tliirteenth century. It is well preserved, and curious.” — {Old Cat.)
“ This is BYZANTINE, but a late and crude performance.” — {Waagen).
In the BYZANTINE style, we find the figures dry, elongated, and meagre,
the character of the heads gloomy and ascetic, the action stiff and angular,
the hands and feet attenuated and powerless, the colours heavy, gaudy, and
hard ; dark-visaged Madonnas, and blood-streaming crucifixes ; a school
which brought art to a state of corruption, and kept her stationary there
many a long century ; a race with small knowledge and great devotion, find-
ing in these strange and dismal pictures fitting incentives for their religious
2
zeal. But in the latter half of the thirteenth century, and during the
fourteenth, by the great GIOTTO and his influential school, and equally by
a truly divine artist, MEMMI, and the Sienese school, it will be seen from
this group that the BYZANTINE manner began to be, and was at length
altogether, abandoned.
No. 4 . Virgin and Child. BYZANTINE SCHOOL.
Size — 1 foot 7 high, 1 foot 1 wide.
With the usual Byzantine Monogram, as on the preceding picture (m-p)j
and the corresponding oV oeov — “ The Mother ” — “ Of God.” The countenance
of the child singularly striking and expressive.
No. 5- St. Joseph and the Infant Saviour.
Size — 1 foot 7 high, 1 foot 4 wide.
A peculiar and interesting treatment of the subject.
M ARGATIITONE D’ AREZZO.— 1236— 1 3 1 3.
A venerable artist, the most ancient of whom we have any account in the
history of the pictures of this period, and said by Vasari to have been
instructed by the Greek painters of that rude and barbarous age, in the
rudiments of his art.
No. 6- The Coronation of the Virgin — the figures half length. The
Virgin, with her hands folded on her breast, devoutly inclines her head
before Christ, who places on the crown with both hands.
Size — 1 foot 6 high, 1 foot 10 wide.
(From the Roscoe Collection.)
“Very curious as the production of an ancient Italian artist, who was con-
temporary with the Greek painters before mentioned. He painted sometimes
on canvass, but mostly on a ground composed of mortar, and cemented to a
board. He was celebrated for the taste and richness of his Gothic ornaments,
the style of which may be seen in the background of this specimen. The
figures have a degree of dignity and grace, a great step towards refinement,
and which is characteristic of even the earliest artists in Italy. This picture
is therefore important, as showing the state of the arts a short time previous
to the time of CIMABUE, who has been long held to have been the
earliest reviver of the art in Italy.” — {Old Cat.)
“ This picture indicates, it is thought by Signor Cavalcaselle, a later period
than that of MARGARITONE ; and from its composition, the character of the
heads, the style of the ornaments and drapery, and facility of the folds, that
it is more probably of the succeeding century — the fourteentli, and School of
SIENNA, — and perhaps LIPPO MEMMI, relative and contemporary of the
celebrated SIMONE DI MARTINO, or MEMMI, from whom he may be
distinguished by a certain inferiority in the expression, form, and general
character of his figures.” — {See No. 12.)
“ A good work of the SIENESE SCHOOL of the fourteenth century, but
much injured.” — {Waagen.) “ Not MARGARITONE.’’ — {Mrs Jameson.)
“A genuine picture by MARGARITONE D’AREZZO, afibrds a good
specimen of the pale colour and ornamental diaper background of the close
of the fourteenth century.” — {George Scharf, Junr.) Notices of ancient
masters in the Manchester Art Treasures Exhibition, where it was No. 18,
3
and where this experienced and able student of early art pronounced it the
only genuine example of this rare master, the ‘ Monnstic Saint’ (No. 14), from
Christ Church, Oxford, being “a palpable fabrication of modern times.” — •
W. R.)
GIOVANNI CIMABUE.— 1240— living in 1302.
The Master of GIOTTO.
“ To this painter has Vasari himself awarded the honour of being the
earliest reviver of the art of painting in Italy. Other historians dispute
this honour in favour of GUIDO DA SIENA, whose name has been
found upon a picture bearing date 1221, about twenty years before CIMABUE
was born ; and Lanzi seems to think that other painters existed at that time
in different parts of Italy. The works of CIMABUE, although many bear
his name, are most difficult to meet with.” — {Old Cat.)
“ The claim of CIMABUE to be the founder and father of modern Italian
painting, even in his own city of Florence, is now disputed. But to his quick
perception and generous protection of talent in the lowly shepherd boy, we
owe his scholar GIOTTO, who has undoubtedly exercised a more immediate,
wide, and lasting influence than any single human being in any one particular
department of science or art. The first painter ‘ who held, as it were, the
mirror up to nature.’ ” — {Mrs. Jameson?)
No 7 . The Crucifixion and other Scenes from Holy Writ.
Size — 1 foot 9 high, 10 inches wide.
From the Roscoe collection ; and No. 19 of the Art Treasures of the
Manchester Exhibition.
“ This little picture seems to have been the folding-doors of a small altar-
piece called a triptych joined the reverse way. It shows, upon examination,
the feeble and ineffective, but promising state of the arts at that period.” —
{Old Cat.)
“ Questa preziosa tavoletta, cosi mutilata, ed in qualche parte ritocca, per la
composizione, per i caratteri delle teste, per le forme, e per un certo colorito
pifi vivace, in vece di CIMABUE, porta tutta I’impronta della Scuola
di GIOTTO.”— (Cam
“SCHOOL OF SIENA, of the period and style of TADDEO DI BAR-
TOLO ; therefore about 1400. Much injured.” — {Waage^i.)
No. 8 . A Pope seated on a Throne, and attended by Four Saints —
St. John the Baptist, St. Paul, the Virgin Mary, and St. Catherine.
Size — 4 feet high, 5 feet 9 wide.
Avery beautiful, curious, and elaborately painted picture, illustrative of early
art, attributed to CIMABUE, from the collection of the late Joseph Brooks
Yates, Esq. It appears, however, to belong to a decidedly more advanced
period of art ; the few surviving genuine wmrks of CIMABUE showing little
successful advance, excepting, perhaps, in expression, on those of the Byzan-
tine School. And the most probable and best supported conjecture as to the
artist seems to me that of Signor Cavalcaselle, who after careful examination
assigns it to GENTILE DA FABRIANO, and considers it a highly impor-
tant work as regards art and its history, as indicating the period characterized
by GENTILE DA FABRIANO (1332 — 1412, Pilkington, but who, Lanzi
4
^:\jQj)egan to distinguish himself among the painters employed in the Dnonio
at Orvieto in 1417) and FKA BEATO ANGELICO DA FIESOLE,
1387 — 1455, whose scholar he is said to have been; and, in whose works,
there is sometimes great resemblance. The peculiar manner of both these
celebrated early artists, and the influence on art at that period of “ the angelic
painter ” (“ the first to render, with the utmost delicacy, and purity of feeling,
the moral and spiritual expression of the human countenance ”), particularly
in the St. John, Cavalcaselle thinks, may be evidently discovered, with the
distinctive indications of GENTILE ; and his observations are so important
that I give them at length in his own words. GENTILE DA FABKIANO
was born at Yerona, and JACOPO BELLINI, one of the earliest artists and
founders of the famous Yenetian school, was his scholar. See No. 27. —
{T. W. R.)
Questa tavola, per quanto lascia vedere il tempo ed il restauro, e di molta
importanza per I’arte e per la storia, perche mostra I’epoca segnata da
GENTILE DA FABEIANO e da BEATO ANGELICO DA FIESOLE ;
di quel GENTILE sul quale tanto influe nella pratica dell’ arte I’amicizia di
B. ANGELICO, e tanto s’assomigliano, che lo si fa suo Scolare, mentre
risulta da una scrittura in Orvieto, che GENTILE era i/aesiro dei Maestri in
Orvieto 1’ anno 1417, epoca in cui L’ ANGELICO era ancora giovanetto, e
cosi pure abbiamo una sua pittura colla seguente iscrizione : — ix Decemb.
mccccxxv. Cum per egregium Magistrum Magistrorum GENTILEM DE
FABRIANO pictorem picta fuerit imago, et picta Majestas B. M. Y, tarn
subtiliter et decore pulchritudinis, &c. ma pare invece che GENTILE da
prima sia stato alia scuola di certo NUNZIO FABEIANESE (di FABEI-
ANO), del quale vedesi nel duomo di Macerata una tavola coll’ anno
mccclxviii., e poi si sia accostato all’ ANGELICO —questo stesso GENTILE
fu quello che insegno F arte a JACOPO padre di GENTILE e GIOYANNI
BEJjLINI in Yenezia. Eipeto adunque, che per quanto si pud vedere a
traverse al tempo ed al restauro, in questa tavola vi si legge la maniera di
B. ANGELICO e di GENTILE DA FABEIANO— il modo come dipinta,
r eleganza della composizione, la dolcezza dei caratteri delle teste (e special-
mente il S. Giovanni), mostra F influenza esercitata sull’arte dalF ANGELICO,
come poi sono mosse e piantano le figure, e qualche cosa di meno elegante
nei caratteri, ma invece di pih sentito, e come d fatto il fondo, mostra la
maniera di GENTILE DA FABRIANO.” — Cavalcaselle.
The Manchester Exhibition had no work whatever illustrating this rare
artist, the above not having then come into the possession of this Gallery.
Another, however, and very different view, both of the subject and artist, of
this fine picture, has been suggested by a connoisseur who has carefully
studied some of our finest and most undoubted specimens of early Italian art
— Mr. T. C. Archer. Entirely concurring in the opinion that it exhibits
merits altogether beyond CIMABUE and his School, he thinks that, if com-
pared with the undoubted works of CARLO CEIYELLI, such, for instance,
as Lord Ward’s Madonna and Child, noticed by Dr. Waagen (Vol. 2, p. 234),
the same high finish, particularly in the drapery, the same Peruginesque
sweetness and graceful expression, and warm harmonious colour, and the
same peculiar architecture, and pure blue sky, clearly indicate this artist of
the Venetian School ; and the same idea has occurred to other good judges.
CEIYELLI, we are told by Ridolfi, was a native of Yenice, and flourished
about 1450 till 1476 {Stanley's Bryan), and Lanzi pronounces liim ‘‘ an artist
more remarkable for his force of colouring than correctness of design, his
])rinciijal merit consisting in those little history-pieces in which, he has
represented beautiful landscapes, and given to his figures grace, motion, and
expression, with some traces of the colouring of the School of Perugia.”
Then as to the subject, the idea of the central figure being a Pope, does not
0
appear to this critic tenable, or consistent with the general grouping ; in
which St John and St. Catherine, the Virgin and St. Paul, would be unin-
telligibly associated. His view is that the group represents the Heavenly
Holy Family ; the central figure on the throne the Supreme Being, that on
His right the Saviour, symbolized by the cross, and that on His left the
Holy Ghost, indicated by the “ Sword of the Spirit.” St. Catherine, as the
spouse of Christ, stands by his side : and the Virgin Mary, as the spouse of
the Holy Ghost, is similarly placed ; and thus the central group of the Holy
Trinity is connected on either side by earthly links, uniting the Godhead
with mankind ; — a view not inconsistent with the art subjects of the time,
and giving a poetical character to the picture ; — and, whatever the conclusion,
calculated, I think, to cause this very curious and beautiful specimen of early
art to be examined with increased interest and attention. — {T. W. R.)
No. 9 - The Descent of the Holy Ghost.
Size — 1 foot 2 high, 1 foot 4 wide.
(From the Koscoe Collection.)
“ This picture, thought to be of the School of CIM ABTTE, appears to be in a
more matured state of the art. The characters of the heads, the form of the
glories, and the composition, are in the style of that master, and, judging from
the correctness of the perspective, it has probably been a design for a large
fresco or mosaic .” — {Old Cat.)
“ Much later.” — Mrs. Jameson.
“ A rude picture of the school of GIOTTO.” — (JVaa^en.)
No. 33 in the Catalogue of the Art Treasures of the Manchester Exhibi-
tion ; where it appeared as GIOTTO — who was a pupil of CIMABUE.
GIOTTO DI BONDONE. 1276— 1336.
GIOTTO was the founder of the great FLORENTINE SCHOOL of this
early period. To him we are indebted for a new impulse in art ; and such
was his genius, that even his greatest followers, ORCAGNA and SPINELLO,
did not materially advance beyond the limits which he reached ; and what is
new is chiefly confined to that beauty of the head and mildness of expression
which, originating with the GADDI, has its highest development in ORCA-
GNA’S Paradise. Painting was to him a passion, and means of expressing
his thoughts and feelings, as words to his chosen friend, the illustrious
DANTE. The BYZANTINE manner will now, with some few excejitions,
be found entirely abandoned ; life, movement, the look at least of flexibility,
and gracefulness, unsurpassed until the time of MASACCIO, now appear,
with a genius and conception at once inventive and ’poetical. Numerous,
however, as once were the works of GIOTTO throughout the whole of Italy,
but few of those now bearing his name are of much value.
No. 10 , A Group of three Holy Women, with John the Baptist, when
a child, pressed to the bosom of one of them.
Size — 1 foot 9 high, 1 foot 9 wide.
(From the Roscoe Collection.)
G
11 . The Daughter of Herodias receiving the Head of St.John the Baptist
Size — 1 foot 3 high, 1 foot 1 wide.
(From the Roscoe Collection.)
“Meglio conservato, e superiore per disegno, forma, e colorito.” — Cavalca^
selle.
“ These genuine and highly-interesting frescoes have been considered the
undoubted work of GIOTTO, who, having been found by CIMABUE a
shepherd’s boy on the mountain drawing sheep upon a piece of slate, and by him
initiated into the mysteries of his art, became one of the greatest painters
that Italy has produced. They were, in 1770, sawn from the wall of the
Church of the Carmelites at Florence, which was destroyed by fire, and the
whole picture had been engraved by Batch, (by whom this portion was cut out
and sent into England,) previously to the fire in 1771. Although the larger is
somewhat obscured, it shows a masterly outline and powerful expression of
character. The smaller fresco shows a graceful, elegant, female form, with a
feeling of loathing of the horrid subject, forced upon her by her artful mother.
The grace and expression are most admirable for that early period of the
art.” — {Old Cat.)
“ They are the counterpart of a fragment in the possession of Mr. Rogers,
well described by Mrs. Jameson^ in her handbook to private Galleries, page
18.”— G'. 8.
These frescoes from the Church of S. Maria del Carmine, have been almost
unanimously considered by the highest authorities genuine and undoubted ;
but on grounds which, as they can be shortly stated, I abridge and translate
from the long and interesting criticism furnished to me by an able Italian artist,
intimately acquainted with them, and with the finest existing undoubted
works of GIOTTO, it is thought that they are rather to be attributed to one
of the celebrated GADDI, the eldest of whom, TADDEO, was for twenty-
four years GIOTTO’S favourite and most important scholar, and his godson,
and is preferred by Vasari to his master in delicacy and feeling. We do not
find, asserts Signor Cavalcaselle.,OTi examination of these frescoes, that severity
of character, choice of form, neatness and firmness of drawing, and those charac-
teristics peculiar to the head of the School ; but those of the School and the
manner of the GADDI — an angular dry execution, somewhat overcharged, and
style of drapery recalling the known works of TADDEO, in the Chapel of the
Spagnuoli, Santa Maria Novella, Florence. TADDEO GADDI always pre-
served the manner of GIOTTO, Vasari tells us, but surpassed him in colour,
which he rendered more fresh and lively ; and after the first works of his son
and scholar, ANGIOLO, which excited great expectation, his frescoes at Santa
Croce, though executed with much skill, were not very successful in drawing,
and his colouring only was found beautiful and judicious ; and we find,
Cavalcaselle thinks, in these fragments, the characteristic indications of
ANGIOLO GADDI — force of colouring, deficiency of form, daring facility of
execution, abuse of the red, &c. — {T. W. R.)
“ Fragment of a fresco painting of the birth of John the Baptist, very genuine
and interesting, and well-known by the engravings of PATSCH. And the
Daughter of Herodias, a very noble figure.” — ( Waage^i.) “ I think these are
really portions of the frescoes in the Carmine, dreadfully painted over, and
that the women in the first are presenting John the Baptist to his father,
Zacharias.” — (Mrs. Jameson.)
“These fragments are much disfigured, but they are genuine remains, and
show the boldness of style peculiar to the master, and may be recognized in
7
c*atcli’s complete engraviugs made before the church was destroyed.” —
George Scharf — notices of the British Art Treasures in the Manchester
Exhibition, 1857 where they were Nos. 24 and 32, and No. 28 of the sale
catalogue (1811) of Mr. William Young Ottley.
SIMONE DI MAETINO (Merami de Senis) called SIMONE DI
SIENA or MEMMI. 1285—1 344.
Contemporary with GIOTTO we find SIMONE MARTINI, or MEMMI,
chief representative of the grace, sweetness, and peculiar beauty of the style
characteristic of the other Tuscan School of this period — that of Siena. The
distinctive feature of the Florentine is richness of thought and composition,
and aim at reality of character ; of the lively Sienese, the intense and heart-
felt grace of their single figures.
> Petrarch, the friend of this artist, as Dante of GIOTTO, ranks MEMMI
and GIOTTO as the two most eminent painters of the time. Vasari con-
siders the works of the former, not as those of a master of that age, but of
an excellent modern.
No. 12, Joseph and the Virgin remonstrating with the youthful Saviour
on his return from the Temple.
Size — 1 foot 7 high, 1 foot 2 wide.
(From the Eoscoe Collection.)
“ Behold, thy father and I have sought thee sorrowing.”
A perfect gem, of unquestionable genuineness, in admirable preservation,
and early as is its undoubted date, in delicacy of execution and power and
intensity of expression,- one of the finest and most beautiful pictures in
existence. It bears the artist’s name in the following inscription, and is said
to be from the Riccardi Palace, Florence. His works are very scarce, and I
believe this and those at Oxford and Wooton to be the only genuine possessed
by this country. — {T. W. R.)
SYMON DE SENIS— ME PINXIT,
SVB. A.D. MCCCX.LII.
Engraved by G. Scharfxw KugleVs handbook of Italian painting, 3rd edition,
page 157. — No. 37 of the Manchester Exhibition, where it was the only illus-
tration of this most interesting and exquisitely beautiful of artists. “MEMMI,
the contemporary of GIOTTO, and eulogized by DANTE, is seen in a very
curious small picture, presenting a very rare subject, even in an historical
series of paintings of this period, viz., Christ after having been found in the
Temple returning to his parents, and subject to them. It is signed with his
name on the frame, and dated 1.342.” — G. Scharf. Notices of the Art
Treasures in the Manchester Exhibition. “Wonderful as regards expression
and grouping." Rudely treated — the sentiment of admonition and remon-
strance on the part of the parents, and of submission in the youthful Saviour
are unmistakeable.” — II. Ottley.
Dr. Waageri describes this picture as “ Very earnest and touching in the
expression ; the head of Joseph certainly one of the finest ever produced by
art — the execution of the greatest delicacy, the fiesh of a tender reddish
tone ; the draperies of glowing colours ; the ground golden. This exquisitely
beautiful little picture, executed only two years before his (the artist’s) death,
B
8
v/ell merits the praise which his contemporary Petrarch, and at a later
period Vasari, bestow upon it.”
T))\ Kugler says, “ The figures are of the intensest and most touching ex-
pression, and the execution of the utmost delicacy that the period was
capable of.” Mrs. Jameson., “ very beautiful and peculiar in treatment.”
DON SILVESTRO CAMALDOLESE. Viv. 1350, and until 1410.
This early master, a Camaldolese monk of the Convent Santa Maria degli
Angeli, at Florence, was, Lanzi informs us, the most celebrated missal painter
or miniatore of his time, — and his ornamented missals amongst the best that
Italy possesses. “His splendid mass-book, executed for his monastery, near
Florence, and mentioned by Vasari, remained there for several centuries, and
was particularly noticed by Leo X., in 1513. During the late disturbances
in Italy, it was purchased by Mr. Ottley, and brought into this country.” —
{Old Cat.)
GIOTTO and his most celebrated pupils employed their talents in this kind
of embellishment, and their labours may yet be found in the churches and
convents of Italy and France, as may those of every eminent artist of different
periods, until the invention of printing.
No. 13. The Birth of St. John the Baptist. A miniature drawing on
parchment, illuminated with gold, cut out of the celebrated large mass-
book, or missal, mentioned by V asari in his life of Don Lorenzo, and one
of those so much admired by Lorenzo de’ Medici, and sought by his son
Leo X.
Size — 11 inches high, 11 inches wide.
From the Roscoe Collection ; and No. 44 of the Exhibition of Art Treasures
at Manchester.
“ In arrangement, feeling, and execution, a first-rate specimen of this class.”
— {Waagen.)
“ A very beautiful and peculiar treatment of the subject — the Virgin being
present.” — {Mrs. Jameson.)
9
FIFTEENTH C E N T U R Y .
UNDER THE TWO GREAT DIVISIONS OF
THE ITALIAN, AND GERMAN AND FLEMISH SCHOOLS.
All then aiming in every respect — drawing, colour, and perspective — at
a true delineation of nature.
The following interesting and important series of early mastei*s,
illustrative of art in the fifteenth century, almost entirely due to the
Roscoe Collection, is still accompanied by difierences of opinion amongst
the highest authorities as to some of the supposed artists, where none
exists, either as to the period or the value and significance of these
precious heir looms of the great departed. A positive and very confident
opinion has, for instance, been formed as to the two first (Nos. 14 and
15) by a very competent and learned judge of the early art of this
period, whilst doubts are also entertained on high authority ; and still
fuller knowledge and comparative examination, can alone, and possibly
hereafter may, finally decide. — T. R.
The first Italian Group consists of pictures of the
TUSCAN SCHOOLS.
For the perfection of art one element was still wanting — the correct
delineation, the rounding of form, guided by the study of nature — and
tlie attainment of this element characterizes the third period, that of
the Fifteenth century. Indications appear, united with the still pre-
vailing type of the preceding periods, in a few of the FLORENTINE
artists of the beginning of the fifteenth century ; and the most interesting
of these is MASOLINO, who first gave a decided impulse to the new
direction of art — was the instructor of the great MASACCIO — and
was associated with him and his immortal school of artists, in tlie works
of the Brancacci Chapel of the previously mentioned Church of the Car-
melites, or S. Maria del Carmine (Nos. 10 and 1 1) — where, for half a cen-
tury, the first artists the world has ever seen — RAPHAEL, MICHAEL
ANGELO, LEONARDO DA VINCI, and uinvards of twenty others^
enumerated by Vasari, — studied, “ oft till the day was gone,” as in tho
school in which first-rate genius could not fail to inspire genius.-—
Rumohr {Ital. Forschungen) says of these frescoes that all the subjects
not expressly described by Vasari as the work of MASOLINO and
MASACCIO, were by that writer considered to be by the hand of
FILIPPINO LIPPI.— Nee Nos. 20 and 21.
10
MASOLINO DI PANICALE. 1378—1415.
“ An artist of great eminence at this period, to whom STAPNINA taught
colouring — PAOLO UCCELLO, perspective — and LOEEjNZO GHIBEETI
drawing.” — {Old Cat.)
No. 14. The Virgin and Child.
Size — 2 feet 3 high, 1 foot 6 wide.
“A good picture of the school.” — {Waagen.) “ Master doubtful.” — {Mrs.
Jameson.) “ Scorticata, ma questa Madonna fa conoscere la maniera di MASO-
LIN O .” — {Cavalcaselle.)
Thus accomplished, Masolino became the master of
MASO, or TOMMASO DI SAN GIOVANNI, who obtained the name
of MASACCIO. 1402—1443.
MASACCIO, bursting through every disadvantage, was a genius calculated
to make an era in the arts. His works are every where the subjects of ad-
miration, whether found in public edifices or private collections. His early
death, not without suspicion of poison, put an end to a career which promised
to shed a powerful brilJiancy over the arts of his day. — {Old Cat.)
The intimate relation between the arts of painting, sculpture, and architec-
ture at this epoch, led to most important results. The modelling of the
forms in the pictures of MASACCIO is perfect, and they possess a force
and power which no other teaching could have secured.
No. A. Saint with a Book — S. Lorenzo.
Size — 2 feet 1 high, I foot 2 wide.
From the Eoscoe Collection ; and No, 53 of the Art Treasures of the United
Kingdom in the Manchester Exhibition.
“ This picture has a power and simplicity like that of EAPHAEL, and
forcibly recalls the dignity, elegance, and sweetness of the masters and schools
in which MASACCIO was formed— BEATO ANGELICO, STAENINA,
MASOLINO, with his own more energetic colouring.” — {Old Cat.) “Too
poor for MAS A CCIO.” — {Waagen.) “ La dignity della mossa, I’eleganza delle
forme, la netidezza di segno e sugo di tinta, con quei passaggi dolci, maniera
posseduta in pifi alto grado da BEATO ANGELICO che da MASOLINO,
e per qualche cosa di pifi energico e colorito, mostrano appunto esser quest’
opera di MASACCIO, e del tempo delle pitture di S. Clemente in Eoma, tempo
in cui MASACCIO studiava I’ANGE ICO, ed anzi questo quadro pih di
tutto mi riccorda gli afireschi dell’ ANGELICO nella Cappella di Nicolo V.
al Vaticano.” — {Cavalcaselle )
No. 16 . The Wise Men’s Offering,
Size — 5 inches high, 1 foot 11 wide.
Has uo doubt ornamented a cabinet or casket ; and although also attributed
to MASACCIO {Old Cat.) — it maybe doubted whether this minute specimen
of early art is not rather of the school of PEEUGINO. — T. W. R. “So
much |)ainted over that it is hardly possible to judge.” — G. 8. “ The adoration
of the kings — a rude performance ascribed to the same greatmaster, MASAC-
CIO.” — ( Waagen.)
11
SCEIOOL OF MASACCIO.
FRA FILIPPO LIPPI? 1412—1469.
No. 17, The Martyrdom of St. Sebastian.
No. 18. The Temptation of St. Antony. (?) Some Legendary Scone.
A pair. — The size — 10 inches high, 1 foot 8 inches wide.
From the Roscoe Collection ; and Nos. 69 and 70 of the Manchester
Exhibition of Art Treasures.
“ANDREA DEL CASTAGNO — (1403 — 1477) — to whom these exqui-
sitely finished and beautiful little pictures were assigned by Mr. Roscoe., — is
an artist who shows that strong predilection for the study of the
nude, promoted by the powerful exanijile of MASACCIO; and is sai. Roscoe to ANGELICO DA FIESOLE,
but it was always disputed. At length it was decided on the authority
of Dr. Waageji to be the work of that scarce master, FILIPPINO LIPPI,
son of FILIPPO LIPPI, and Pupil of SANDEO BOTTICELLI. He says
of it, “that it is one of the most beautiful and deeply felt, one of the most
refined and intense pictures by this great master, full of his fine sentiment,
and of his earlier and best period.”
“Opera di FILIPPINO LIPPI; e mostra quella certa durezza, special-
mente neUe pieghe, che e stata propria di quel pittore.” — [Cavalcaselle .)
It has ornamented a casket.
MATTEO DA SIENA. 1462—1491.
24. The Yirgin and Child, with Angels.
Size — 1 foot 11 high, 1 foot 4 wide.
This picture was formerly attributed to FILIPPO LIPPI; but Dr. Waagen
has given it to this “ dry ” master of the early Sienese School, as far as he
could j ndge from the distance at which he saw it, both in his work published
in 1838, and again in that ot 1854.
DOMENICO GHTELANDAIO? 1451—1195: or, LOEENZO DI
CEEDI ? 1454—1536.
GHIELANDAIO may be said to have been the first who discovered the
genius of the immortal BUONAEOTTI, though LUCA SIGNOEELLI,
{See No. 85) is considered by Dr. Waagen as, properly speaking, the real pre-
cursor of MICHAEL ANGELO, and the great and rare master in whom the
art of Central Italy in the fifteenth century attained its highest perfection. It
appears that, upon being applied to by Lorenzo de’ Medici for an artist
capable of reviving the art of sculpture, GHIELANDAIO recommended
MICHAEL ANGELO, who soon, in the gardens of the Medici, established
his own fame and the judgment of his master and friend. The family name
of this artist was “ Corradi,” but he obtained from his contemporaries that of
“ GHIELANDAIO,” from the profession of Ids father, who was a goldsmith,
and inventor of the garlands worn on the heads of the Florentine children.
He was, without doubt, one of the greatest masters of his own or any other
age, and carried to perfection what MASACCIO had begun, and may be con-
sidered, Dr. Waagen thinks, the head of the realistic portion of the Florentine
School of the fifteenth century.
No. 25. The Virgin and Infant, seated on a bank in a Landscape,
which is enriched with Trees, Buildings, and Water. The Mother is
suckling the Infiint.
Size — 2 feet 10 high, 2 feet wide.
(From the Eoscoe collection.)
When it is considered that GHIELANDAIO was at the head of a very
15
numerous school, in which SONS, NEPHEW, MICHAEL ANGELO, AN-
DREA DEL SARTO, and many other able artists were pupils, it is held to
be most fortunate to possess a genuine work of DOMENICO GHIRLAN-
DAIO. This picture shows all the characteristics of his pencil, and presents
a very favourable specimen of his style of painting.” — {Old Cat.)
Signor Cavalcaselle pronounces this picture, in the manner of LORENZO
DI CEEDI — a contemporary of both GHIRLANDAIO and LEONARDO
DA VINCI in the School of VEROCCHIO, “ GHIRLANDAJO ^ un Capo-
scuola da cui discende MICHEL ANGELO ; LORENZO DI CREDI non e
pid che un freddo e diligente condiscepolo di LEONARDO alia scuola del
VEROCCHIO ; ” and Dr. Waagen says : — “ Without knowing beforehand the
opinion of Signor Cavalcaselle., I had, in 1850, marked this picture as a fine
work by LORENZO DI CREDI,” — not CIVETTA, as erroneously supposed.
“ In the manner of LORENZO DI CREDI, an exquisite master.” — {Mrs.
Jamesoni)
LUCA SIGNORELLI. 1440—1521. Still living, 1525— and
Stanley's Bryan.) — Or, CIMA, generally known as IL CONEG-
LIANO. 1489—1541.
No. 26 . The Virgin and Child.
Size — 1 foot 9 high ; 1 foot 4 wide.
“CIMA was one of the early painters of the Venetian School, whose labours led
to the splendour of GIORGIONE and of TITIAN. He was contemporary with
the BELlINI, and followed their style ; but in colouring and expression he sur-
passed those able masters. He delighted to show in his backgrounds a pleasing land-
scape, and frequently introduced a view of his native town, Conegliano, from which
he took his name.” — i^Old Cat., in which it had always been given to this master.)
Signor Cavalcaselle, however, doubts this picture being by CONEGLIANO, and
pronounces it of the School of LUCA SIGNORELLI, an artist of high excellence,
born at Cortona, and one of the ablest of his time, pre-eminent at the renovation of
art, and admired, if not imitated, by MICHAEL ANGELO ; and who, whilst of the
Tuscan School, seems to partake alike of the Paduan, Umbrian, and Florentine
Styles, — though not remarkable for the beauty of his forms, nor the harmony of his
colouring.
Dr. Waagen and Mrs. Jameson entertain similar doubts, and the former says —
“ This picture has no connection whatever with CIMA DA CONEGLIANO, but
recalls in some respects the earlier works of LUCA SIGNORELLI, and is very
valuable.”
ANDREA VEROCCHIO.
1432—1488.
No. 27 . The Virgin and Child.
Size — 1 foot high, 9 inches wide.
“ The painter of this small but powerful specimen was a sculptor as well as
painter. LEONARDO DA VINCI, who with GHIRLANDAIO, LOR-
ENZO DI CREDI, and RETRO PERUGINO, studied under him, is said to
have finished the head of an angel in a style of art so much superior to his
teacher, that VEROCCHIO immediately forsook the pencil for the chisel.” —
{Old Cat.) “Maniera di COSTA BOLOGNESE, Scolare di FRANCIA.”—
(Cavalcaselle.) “Not, I think, VEROCCHIO.” — {Mrs. Jameson.) A mode-
rate picture, of the school of PERUGINO.” — {Waagen.)
16
SCHOOL OF PERUGINO. 1446-1524.
No. 28 . A Votive Picture to the Virgin.
Size — 9 inches high, 1 foot wide.
A curious little relic of art, produced by the grateful devotion of an invalid.
It is what is called a “Votive Picture.” The following is the label at the
bottom of the picture.
BR. VERONEN. VIRGINI MATRl
OB VALETVDINEM IN EXTREMIS
RESTITVTAM ANO. 1496.
“ It was said to be by RAPHAEL D’URBINO, btitfrom the date it appears
to have been painted when that painter was only thirteen years old, and it is
probably the work of PIETRO PERUGINO, or his school, as the figures
are in that taste. The Virgin and Child are beautifully finished ,” — (Old Cat.)
— and, as well as other parts of the picture, surpass in expression the early
works of that school.
“ Solo vedonsi le traccie di quella bella scuola che ha dato RAFFAELLE.”
— (Cavalcaselle.) “ Too much injured to permit of any opinion.”— (TFan^en.)
The second Italian Group of this period consists of pictures of the
SCHOOLS OF VENICE AND UPPER ITALY.
ANDREA MANTEGNA. 1431— 1506.
MANTEGNA was celebrated for displaying the human figure, and one of
the first who, with the POLLAJUOLl, considered that anatomy was an
essential study for a painter. He was also an engraver of extraordinary
merit, and his works were highly prized by many of the greatest collectors of
his time . — (Old Cat.)
Coeval with ANTONIO POLLAJUOLO (as well as VEROCCHIO), this
able artist of the school of PADUA resembles him in the style of his engrav-
ing, but he greatly surpasses him in the drawing of his figures, particularly in
the naked. — (Bryan : Stanley's New Edition.) His works are imbued with the
highest grandeur of feeling and boldness ; his manner is hard and severe ; but
his drawing is correct, his modelling fine, and his execution of the utmost vi-
gour and finish. He was, says Dr. Vfaagen, an enthusiastic student of Greek
sculpture under his master SQUARCIONE, of which his works show the in-
fluence, and is the greatest master in the north of Italy of the second half of
the 15th century for composition and drawing.
MANTEGNA stood in the same relation to SQUARCIONE that GIOTTO
lield to CIMABUE ; both shepherd boys, and both adopted by distinguished
painters. BELLINI of Venice, his master’s rival, father of the famous
GIOVANNI and GENTILE, gave him his daughter in marriage, whence
perhaps the similarity of style in some of their works.
No. 29 - Pieta. The Dead Christ on the Lap of the Virgin, who
is seated on the Tomb. In the distance is the Crucifixion, with many
Figures.
Size — 1 foot 2 high, 1 foot wide.
From the Roscoe collection, where it was given to ANTONIO POLLA-
JUOLO ; and No. 91 of the Manchester Exhibition of the Art Treasures of
17
the United Kingdom. “ A very beautiful Pieta by MANTEGNA, may be
particularly remarked.” — {Art Treasures Examiner^
“ The aim at development of form shows the sculptor who seldom painted.”
— '^JN'aagen^
JACOPO BELLINI.
SCHOLAR OF SQUARCIONE AND GENTILE DA FABRIANO. {See No. 8.)
No. 30# The Virgin, attended by Saints. St. Louis, St. Matthew, St.
Francis, St. John E., St. Peter M., and St. Antony.
Size — 2 feet 9 high, 5 feet 1 wide.
“JACOPO, who flourished 1456, was the father of GENTILE and GIO-
VANNI BELLINI, and one of the earliest painters of the Venetian school.
This very curious work of his pencil shows the progress of the art from the
time of GIOTTO, and the dawning of the power of colouring which after-
wards immortalized the Venetian artists, and which may be seen by the
examination of the works ol GIOVANNI BELLINI.” (See Nos. 31, 32, 33.) —
(Old Cat)
“By an inferior scholar of GIOVANNI BELLINI.” — (^Vaagen^ “Una
fredda e superficiale imitazione diun’ epoca non lontana da noi.” — (Cavalcaselle)
Is it not rather a fine and genuine work little of the original of which now
remains, and hence these very opposite and inconsistent opinions of such
skilful and first-rate judges, pronouncing it on the one hand JACOPO, or at
all events a scholar of GIOVANNI BELLINI, and on the other, “ di im’
epoca non lontana da noi ? ” — (T. W.R)
GENTILE, (or GIOVANNI ?) BELLINI.
“ An artist whose works for simplicity and grace of character may compare
with those of PERUGINO of the Roman School, although his powers were
considered inferior to those of his brother. He had many scholars and
imitators, none more worthy than the painter CATENA.” (Nee No. 84.) —
(Old Cat) He was born at Venice in 1421, and died 1501.
No. 31. The Virgin and Child seated before a green curtain, which
forms the background of the picture.
Size — 1 foot 5 high, 1 foot 2 wide.
“An early work of GIOVANNI BELLINI.” — (Waageyi)
“ Un quadretto di GENTILE.” — (Cavalcaselle. )
GIOVANNI, or GIAN BELLINI. 1426— 1516.
Ridolfi observes that “the style of GIOVANNI BELLINI was an
aggregate of all that was beautiful in painting, in his time ;” and Lanzi,
“ tliat had his outline been less hard, he would have been a just representa-
tive of the style even of the great masters of the sixteenth century.” He
was the instructor of GIORGIONE and TITIAN, and a friend of ALBERT
DURER’S.
No. 32. The Virgin seated, with the Child on her laj), attended by
St. John the Baptist and St. Jerome.
Size — 1 foot high, 1 foot 6 wide.
“ A peculiarly fine example of the talent of this master. The characters are
full of expression ; the drawing is correct ; and the colouring rich and
18
powerful. Ill a small space BELLINI appears to liave applied with extra-
ordinary succei^s those principles of colouring which, matured by experience
and adapted by science and artistical skill, became the means by which the
works of GIORGIONE, TITIAN, PAUL VERONESE, TINTORETTO,
and a crowd of artists of Venice, as well as of other countries, have obtained
so exalted a character in the art of painting.” — {()ld Cat)
‘‘Of the school of GIOVANNI BELLINI, and in the tendency ol GIRO-
LAMO DA SANTA CROCE.”--(Tra«^m.)
“ Si fa conoscere della Scuola V eneta, e di nn pittore Trevisano. I pittori
Trevisani, Friulani, e degli altri paesi del Veneto, sono stati, quasi tutti in
quel tempo, alia scuola dei BELLINI, ma mantengono sempre un carattere
loro proprio, si nel compone come nel espressione, nel colorire e nel paesaggio,
da non confondersi con altri.” — {Cavalcaselle.)
No. 33t ^ Portrait of this celebrated Artist, painted by himself; —
“ and worthy of — {Cavalcaselle.)
Size — 1 foot 3 inches high, 11 inches wide.
YITTORE CARPACCIO'? Flourished about 1520.
OR
GIROLAMO DA SANTA CROCE? 1520—1548.
No, 34. The Punishment of a Saint.
Size — 1 foot high, 11 inches wide.
“ CARPACCIO was an opponent ofthe BELLINI in their works in Venice,
and well known in other parts of Italy. He was admired for the expression
of character in his heads, and painted some large frescoes .” — {Old Cat.)
“A feeble work of GIROLAMO DA SANTA CKOCEC—{Waagen)
“ Manifesta tutti i caratteri della scuola Friulana, ed e un SANTA
CROCE, ben conservato.” — {Cavalcaselle.)
GIROLAMO son of FRANCESCO (of the school of CARPACCIO)
belongs to the group of scholars of GIAN BELLINI, distinguished by soft
and graceful rather than the severe and more sculpturesque manner.
No. 35 . The Virgin, with the Child in her lap.
Size — 2 feet high, 1 foot 7 wide.
“By a master unknown, but apparently of the Early School of Parma.”
—{Old Cat.)
No. 36 . ^ Landscape, with St. Jerome.
Size — 1 foot 9 high, 2 feet 2 wide.
“ A curious and highly-finished production, of a very early period of art.”
— {Old Cat.)
No. 37 . The Virgin and Child, with St. John.
Size — 3 feet 2 high, 2 feet 7 wide.
A pleasing picture of the early Italian School.
19
FLEMISH, GERMAN, AND DUTCH SCHOOLS, OF THE
FIFTEENTH CENTURY.
Tlie last group on the end wall consists of works of the Netherlandish
and German Schools, subjects of exaggerated contempt and exaggerated
praise — despised by some as deficient in the ideal, and lauded by
others as the only genuine imitations of nature. So early as the
Thiiteenth Century, an improved style appears in German art ; the
forms prescribed by tradition disappearing, and being replaced by a softer
execution and a peculiar figvv of outline. Towards the end of the Four-
teenth Century we find, in the works of the immortal School of Cologne,
so pure and complete a feeling for beauty, ideal conception, and truthful
imitation of nature so happily blended, sweetness of expression and child-
like serenity of grace, that we look in vain for so high a degree of per-
fection in the succeeding periods of German art. The celebrated
MEISTER WILHELM of Cologne, flourished about the year 1380.
AVith the commencement of the Fifteenth Century that feeling for
nature, which later in this Century prevailed in Italy, appears generally
as a new element of art amongst the nations of the German race.
JOHN VAN EYCK. 1370—1441.
The Van Eycks were the inventors, or at all events great improvers, of oil
painting, and the founders of the old Flemish School, which had wide and
important influence. — “ First brought the realistic * tendency in art to the
highest pitch of perfection.”
No. 38 . The Crucifixion.
Size — 3 feet 9 high, 3 feet 2 wide.
A fine, and, it has been conjectured, genuine specimen of this scarce Artist ;
carefully finished, and in a remarkable state of preservation. — MICHAEL
WOHLGEMUTH %
No. 39 . The Resurrection of Christ, with the announcing Angel
and numerous figures.
Size — 4 feet 9 high, 3 feet 7 wide.
This curious and highly finished picture has also been attributed to the same
master.
No. 40 . The Burial of Christ.
Size — 21 inches square.
From the Roscoe Collection ; and No. 443 of the British Art Treasures
Exhibition in Manchester.
In the Imperial Gallery at Vienna is a well-known picture by this master
on the same .subject, and treated, though on a smaller scale, in a similar
manner to this speelmen, which is from the collection of the Count Truchsess,
where it was erroneously attributed to IS. VAN MEUHELN, an excellent
German artist in the School of Cologne. Br Waagen says, “ The counte-
nances monotonous and plain, but very expressive ; the colours deep and
full ; the painting of the most delicate blending ; the landscape simple ; but
♦ A term in art applied to those who adhere as closely as possible in every respect to their models in
nature Waagen.
20
he describes it as a work of the Dutch School of the 1 5th century, with au
affinity to Gerhart Van Haarlem.” “School of VAN EYCK.” — {^Man-
chester Exhibition Catalogued)
HUGO VAN DER GOES. About 1405—1480. Stanleys Bryan.
No. 41 , St- Catherine, with a Sword.
Size — 1 foot 8 high, 8 inches wide.
From the Roscoe Collection.
No. 42 . The Magdalen, with a Box of Ointment.
Size — 1 foot 8 high, 8 inches wide.
(From the Roscoe Collection.)
“The painter of these two beautiful female saints was a pupil of VAN
EYCK, and esteemed one of the finest colourists of that School. His
pictures are in high estimation in Flanders ; they possess a sweetness of
character and gracefulness of figure, much beyond the artists of that day,
and are remarkable for the gracefulness of the heads, and elegance of the
female figures .” — {Old Cat.)
“ Decidedly by a good painter of the Netherlandish School between 1500
and 1550.” — {Waagen.)
“ Correct.” — {O'Neil)
“ No. — {Ml'S. Jameson.)"
No. 43 . The Nativity. The Angel appearing to the Shepherds is
painted in the background.
Size — 1 foot 3 high, 1 foot wide.
(From the Roscoe Collection.)
“ This picture is of an early V enetian character, but has been attributed to
VAN DER GOES: and by Mr. Roscoe to GIAN BELLINI.”— (6>^c^ Cat.)
No. 44 , A. Religious Devotee at his Devotions. With his Servant
and his Wife, in rich costumes, in another compartment.
Size — 3 feet 6 high, 2 feet 8 wide.
A powerfully painted picture, in fine preservation, and a valuable specimen
of the great labour, powerful display of character, and rich colouring of the
early German School ; also attributed to this old Flemish artist.
HANS HEMLING, or MEMLING. 1450—1489.
HANS HEMLING was one of the best artists of the School of VAN
EYCK, carrying out its principles with the greatest freedom and originality.
The features are less lovely but more earnest ; the handling sharper, and
with more finish of the detail. We trace his more serious feeling, particularly
in the conception and colouring of his landscapes. If in JOHN \^AN EYCK
these shone in the light of spring, in him they glow with the richness of
summer, the greens darker, the foliage of the trees more dense, the shadows
stronger, the masses of light broader and more tranquil. He is always
successful in scenes which require the highest brilliancy of strong lights, as
he rising sun, or forcible and singular combinations of colour, as in visions, &c.
45 . "ilie Virgin and CbiH, in a Landscape with Buildiugs.
Size — 1 foot 1 high, 10 inches wide.
“ This beautiful and highly-finished specimen is equal in eveiy part to the
finest works of ALBEET DUEER. The graceful ease of the Angels, who
are holding the crown over the head of the Virgin, is much in the Italian
taste : the colouring of the whole appears to be in a very advanced period of
the art. In the background are depicted, in beautifully pencilled small
figures, the Annunciation and the Salutation.” — {Old Cat.)
“ Correct.”— (O’ Aei7.)
“ A pleasing picture, but which, from the style of art, and also from the faded
Haarlem blue in the sky and hills — a colour which only came into use in 1550
— cannot possibly have been painted before that time. In every respect, also,
it is inferior to MEMLING.”— ( TFha^en.)
“ About 1550.” — {Mrs. Jameson.)
ROGER VAN HER WEYDEN THE YOUNGER. 1480— 1529.
No. 46 . A small triptych altar-])iece with wings. Centre picture the
Descent from the Cross, with the Virgin, St. John, and numerous figures.
The right wing, the impenitent thief, and the donor kneeling. The left
wing, the penitent thief, the centurion, and a soldier. On the outer side
of the wings are St. John the Baptist and St. Julian, by an inferior artist
and more in the manner of LUCAS VAN LEYDEN.
Size — 2 feet high, 2 feet wide, and each wing 9 inches wide.
From the Eoscoe Collection ; and No. 412 of the Manchester Exhibition of
the Art Treasures of Great Britain.
This artist was one of the latest and most celebrated and successful followers
of the VAN EYCK School of this period, and more properly belongs to the
succeeding century. This picture shows a matured state of the art,%,nd is a
truly fine specimen ; for colouring, expression, and grouping, it may rank
with the Italian Schools ; and it was thought by its former owner Mr.
Eoscoe, to be the work of HANS HEMLING, but more recently the judg-
ment of several connoisseurs has united in deciding it to be the production of
ROGER VAN DEE WEYDEN. It has doubtless been an altar piece for
some place of private devotion, and displays' a high quality of artist! cal ability.
“ This very interesting picture is evidently of the earlier time of the master.
The features of the countenances are similar to those in the large Descent from
the Cross, by the same artist, in the Berlin museum ; the attitudes and
motives are also similar. T.he noble and elevated expression in the profile of
a woman is worthy of LEONARDO DA VINCI ; the contours are, however
more precise, outlined, and harder. The tone of the flesh in the lights is
yellowish ; in the middle tints, and in the shadows, dark. The whole is
exceedingly pathetic.” — ( Waagen.)
ZWOTT or ZWOLL? Lived about 1500.
No. 47 . •The Virgin and St. John lamenting over the Dead Christ.
Size — 2 feet 3 high, 1 foot 9 wide.
(From the Eoscoe Collection.)
“ This })icture is from the Truchsessian Collection. The artist is known as
one of the earliest engravers. His pictures are very scarce.” — {Old Cat.)
“ Too feeble for the master. In the fine motives and general character there
are traces of VAN DEll WEYDEN’S influence.”—
STOSS.
No. 48, ^ Descent from the Cross, with many Figures.
Size — 2 feet 2 high, 2 feet wide.
(From the Eoscoe Collection.)
A curious production of an early German master, believed by Mr. Strutt
to have practised engraving prior to either MARTIN SC HON or IS. VAN
MHCHELN, and to have been the tutor to the former, from the resemblance
in their style. — (See Bryan)
MICHAEL WOHLGEMUTH. 1434—1519.
The Master of ALBERT DURER, and known as the designer of the able
woodcuts that appear in the Nuremberg Chronicle of 1493. — {Old Cat)
MICHAEL WOHLGEMUTH is the most important and excellent of the
German artists of Nuremberg, who manifested an increasing independence of
Gemish peculiarities. The groundwork of their style is a dry truthful imi-
ation of surrounding objects ; but in particular cases with an evident leaning
0 the nobler type of beauty visible in the works of MARTIN SCHON. In
lis altar picture in the Imperial Gallery at Vienna, we recognise the master
o whom ALBERT DURER was indebted for his education, and who there
uirpasses his great scholar in the expression of gentleness and simplicity. —
Kugler)
“ Als in der zweiten Halfte des 15ten Jahrhunderts sich die naturalistische
Kunstweise der Briider VAN EYCK in Deutschland allgemein ausbreitete,
bildete sich in Niirnberg vornehmlich durch den MICHAEL WOHLGE-
MUTH die friinkische Schule zu einem eigenthnmlichen Charakter aus, fur
welchen ein Streben nach stylgemasser Composition, Harte, und Buntheit in
Umrissen und Farben, und eine mehr zeichnende als malende Tecknik,
bezeichnend sind.” — {Waagen)
No* 49. Filate Washing his Hands after having Sentenced Christ.
Size — 3 feet 6 high, 1 foot 8 wide.
“ This very hue work of art, with its companion, have probably been the
wings of a splendid altar-piece. For colouring and finishing it cannot be sur-
passed ; the characters of the heads are very masterly ; the composition, as
isual, is crowded with events before and after that which the picture repre-
ents ; every part of the subject is told with spirit, and the preservation of
this picture is perfect.” — {Old Cat )
No. 50. 1'he Deposition. Christ taken from the Cross, and attended
by his Mother and other Females, St. John the Disciple, St. Joseph of
Arimathea, &c. The Resurrection and Ascension in the back ground.
Size — 3 feet 6 high, 1 foot 8 inches wide.
“A picture of equal excellence. The heads of the females are finished with
great delicacy.” — {Old Cat) These two admirable pictures had always been
ascribed to LUCAS CRANACH, but Dr. Waagen says positively, ‘‘ Two good
pictures by MICHAEL WOHLGEMUTH, an incomparably rarer master
by the way than LUCAS CRANACH.”
No. 5'. The Presentation in the Temple.
Size — 1 foot 6 high, 1 foot 1 wide.
“A incture of the SCHOOL OF MICHAEL WOHLGEMUTH,” {Dr.
Waagen) — to whom it had always been assigned. “ It would appear that this
23
picture is painted in distemper, wiiich shows that fifty years after JOHN V AN
EYCK’S discovery, it was not universally adopted in Germany ,” — {Old Cat.)
No. 52 . Madonna and Child, — the latter receiving a cup from the
infant St. John. The donor, in full robes, stands looking over a parajjet.
Size — 3 feet high, 2 feet wide.
No. 53 . Ditto Ditto. Angels drawing the curtains of the throne.
Size — 3 feet high, 2 feet wide.
“Both these pictures are of the SCHOOL OF MICHAEL WOHLGE-
MUTH.”— (
These five pictures. Nos. 405, 406, 411,417, 418, of the Manchester Exhibition
of the Art Treasures of the United Kingdom, were the only illustrations of
this scarce artist, and two of them were considered amongst the finest of
the known works of WOHLGEMUTH.
C
24
SIXTEENTH CENTUEY.
Adjoining the German, Dutch, and Flemish pictures of the Fifteenth
century, will be found those of the Sixteenth, constituting the first group
at the fiarthe^t end ofi the right-hand side of the Gallery, which is entii’ely
devoted to the works of this golden age of art j arranged under these and
tlie four celebrated Italian Schools of this period. But in Italy, the
bloom of art gradually burst forth into all the fulness of perfect works ]
heavenly thoughts were embodied in perfect forms, and the highest dig-
nity of man assumed a visible shape ; whilst in Germany, art never wholly
cast off the early trammels of a constrained style, and failed to realize the
highest style of beauty, owing, perhaps, to the arbitrary sway and acti-
vity of an imagination unrestrained by the influence and repose of
heavens rarely obscured by clouds, and of earth not wrapped in slumber
and deprived of the beauty of vegetation during more than half the year.
In ALBERT DURER, the existing style of art attained its most peculiar
and highest perfection, gifted as he was with a lively sense, as well for
the solemn and sublime as for simple grace and tenderness, and above all,
with an earnest, truthful, feeling in art. The head of the School of
FRANCONIA in the sixteenth century — that excellence to which he
had raised German art in his last master work (“ The Four Apostles,”
taken from Nuremberg, and now in the Piiiacothek at Munich, fruit of
the deepest thought, and executed with overpowering force), passed
away with him, and centuries saw no sign of its revival.
ALBERT DTJRER Born at Nuremberg 1471 — Died 1528.
No. 54 . The Birth of the Virgin.
Size — 1 foot 2 high, 10 inches wide.
No 484 of the Manchester Exhibition of the Art Treasures of the United
Kingdom.
“ This curious specimen of art is painted in a free and able style, from
ALBERT DURER’S design in a woodcut, in which, at the top of the com-
position, is an Angel in Glory, attending the event .” — {Old Cat,) “ xA skilful
copy from ALBERT DURER’S woodcut, only very red in its flesh tones.” —
( Waagen.)
SCHOOL OF ALBERT DURER.
No 55 . St. Ann and the Virgin, in a Landscape.
Size — I foot high, 8 inches wide.
25
HANS or JOHANSEN BALHUNG, cog. GRUN. Roru towards
the close of the Fifteenth Century.
No. 56t Youth.
Size — 10 inches high, 8 inches wide.
This curious picture was ascribed to ANTONELLO DA MESSINA
(1447 — 1476), an artist who travelled to the Netherlands to gain a knowledge
of the art of painting in oil— at that period discovered by JOHN VAN EY CK ;
before which distemper colours, that is, colour mixed with yolk of egg and
glutinous fluids, which dried quickly and required rajnd execution, had
been used in painting. But Dr. Waagen says of it — “ Unquestionahlg a
GERMAN picture, and of the st}'le and period of HANS BALDUNG
GRUN,” — a German painter and engraver, (contemporary of ALBERT
DURER, and rather in the Nuremberg style, but colder and more dry in
colouring.) — “Therefore about 1510 — 1534;” — and it is in consequence,
transferred to its present situation. Mrs. Jameson says, “ Not I think ANTO-
NELLO.”
Parallel to ALBERT DURER and his NUREMBERG SCHOOL, stands
the SCHOOL OF SAXONY, with LUCAS CRANACH at its liead, the
other first great artist of Protestant Germany. CRANACH has much in
common with DURER, particularly in his simple conception of nature, and
his smooth and somewhat thin, but still powerful colouring ; but the deep
earnestness and grandeur ot DURER, is replaced by a simple and childlike
serenity, and by a soft grace, almost bordering on bashfulness, and the general
fantastic tendency of the time often shows itself forcibly, d’his collection
was considered peculiarly rich and fortunate as regards the works of this
Master, but the transfer of Nos 49 and 50, on the authority of Dr. Waagen.,
to MICHAEL WOHLGEMUTH leaves only the following illustrations.
LUCAS CRANACH, or SUNDER. 1470 — 1553. One of the
greatest Artists of Germany at the opening of the 1 6th Century.
No. 57 . The Artist’s Wife. A Female Sleeping by a Fountain.
Size — 1 foot 8 inches high, 2 feet 6 inches wide.
Manifests his great care and finish, and skill in colour and composition,
ami bears the monogram of the artist, a flying dragon with a ring in its
mouth.
“ Deser ting his own peculiar style, he often re})resents figures of this sort,
and his Venuses in particular are frequently met with in galleries.” — (Kiigler.)
“ CRANACH painted his wife several times in all the nudity of Venus.” —
{Scharf.)
“ An undraped female figure ; erroneously styled the wife of the painter. A
genuine picture, inscribed with the dragon, ami dated 1534 ; a smaller version
of which is in the Royal Palace at Berlin.” — ( Waageii.)
No. 457 of the Manchester Exhibition of the Art Treasures of the United
Kingdom.
26
No. 58, The Portrait of the Artist’s Wife.
Size — 1 foot high, 9 inches wide.
As a portrait painter he takes a high place, and is disticguished by his
simple and faithful adherence to the forms of nature. In his best portrait
works we see an affinity to the style of GEtlNEWALD. Both adopted tlie
same breadth and hardness of feature ; both possessed tho same power of
giving individuality to their figures.
On the back of the panel upon which this portrait is painted is written, as
is believed, by the artist himself, “ Effigies genuina Margaretae Eauschen a
Zigelburgh, sponsa Lucse Kranach, &c.,” with the winged dragon, the artist’s
mark.
“ A female portrait by some German master of the same period as LUCAS
CEANACH, of very animated conception and clear colouring.” — {Waagen.)
Next in general similarity of style, may be placed the contemporary
Dutch painters of the SCHOOL OF HOLLAND, and of these the
first is,
CORNELIUS ENGELBEECHTSEN OF LEYDEN. 1468—1533.
MASTER OF LUCAS VAN LEYDEN.
He painted in the manner of VAN EYCK. Ilis works are much admired.
No. 59 . The Martyrdom of St. Lawrence.
Size — 2 feet 11 inches high, 2 feet wide.
(From the Eoscoe Collection.)
‘‘ Decidedly not by COENELIUS ENGELBEECHTSEN, though of the old
DUTCH SCHOOL.”— Attributed to LUCAS VAN LEYDEN
in the Eoscoe Catalogue.
LUCAS VAN LEYDEN. 1494—1533.
“ In general, and especially in all that regards external manner, this artist
may best be compared with ALBEET DUEEE ; but we rarely meet in his
works with the grand features which distinguish this latter master.” — {Kugler.)
Of his engravings, by which he is chiefly known, his paintings being
extremely rare, Dr. Waagen says : — “ A Netherlandish engraver who,
with great command of his art, treated sacred subjects in a fantastic but
still realistic manner.”
No. 00. His own portrait as St. Hubert.
Size — 3 feet 1 high, 2 feet 7 wide.
(From the Eoscoe Collection.)
“ Hubert lived in Germany about the end of the seventh century. His
early years were passed in figliting the battles of his country under Theodoric
27
111., and ill the sjDort of hunting, of which lie was passionately fond. He was
drawn from his worldly pursuits by the persuasion of his friends ; but chiefly
by the miracle which is represented in this picture. While hunting in the
forest he met a stag with the crucifix growing between his horns. He was
converted by the sight of this miracle, and became one of the most zealous
supporters of the Catholic faith ; and, having built and endowed several
churches, he died in the odour of sanctity, and was canonized as Saint Hubert.
This celebrated and beautiful picture is mentioned by Des Camps and
Karl Van Mander, as having been painted by the artist at a very early age,
to the astonishment of the artists of the time. It is wonderfully executed,
full of subject, admirably disposed. Ihe ]>ortrait is in the first possible state
of preservation, very highly finished, and the inferior parts touched witli
much spirit. It is from the very select collection of the late Grefiier Fagel.”
— {Old Cat.)
In his last work, “ The Treasures of Art — 1854,” Br. Waagen says, “ Portrai t
of a young Knight (and not his own, as stated in the Catalogue) wearing a black
cap, in an ample chestnut-coloured robe, bordered with black In the land-
scape which forms the background is St. Hubert, to whom the stag is ap-
pearing with a crucifix between its horns. Beautifully executed, like the
finest miniature. In my opinion part of the wing of a large altar-piece, and
one of the most finished of the very rare genuine pictures by this master.
Formerly in the celebrated collection of Grefiier Fagel.” Describing the rich
composition and admirable miniature-like execution of the Crucifixion in
the Duke of Norfolk’s collection. Dr. Waagen says — “ Considering the fact that
ten genuine pictures by this celebrated master can scarcely be pointed out in
all Europe, this one is of great value.”
This valuable picture was No. 452 of the Manchester Exhibition of British
Art Treasures,and was there described as “ his own Portrait.”
LUCAS, or LUDWIG KRUG, or KRUGEN. Flourished about
1516, and died in 1535.
Bryan mentions KRUG as an engraver and painter, and says that, from
the few prints we have of him, he appears to have imitated the style of LUCAS
OF LEYDEN.
No. Gl, The Nativity. The Virgin, kneeling and worshipping the
Child lying on the ground, St. Joseph standing by with a lantern.
Size — 1 foot high, 10 inches wide.
From the Eoscoe Collection ; and No. 460 of the Manchester Exhibition of
the Art Treasures of the United Kingdom.
Engraved by the artist himself. The engraving is much valued in the best
collections in Germany, and this |)icture. No. 460 of the Manchester
Exhibition, is the only illustration of this rare painter in this country.
In the original Eoscoe Catalogue it had been attributed to “BALDOVI-
NETTI, the Master of GHIRLANDAJO” — an old Florentine artist, men-
tioned by Vasari., and called Vy Lanzi ‘‘Pittor Nobile.”
“ This masterly picture, executed in the style of the German School, exactly
agrees in the essentials with the well-known engraving by this master. —
{Bartsch, vol. viii. page 536.”) — {Waagen.)
28
UPPER GERMAN SCHOOL.
HANS HOLBEIN. 1498 -1554.
One of the most important masters, in the opinion of Kugler, in the whole
range of German art, and particularly distinguished as a portrait painter ; his
likenesses possessing a close simple adherence to nature, his figures a fine
dignified repose, and excelling in power, warmth, and intensity of colour, as
well as in beautiful fulness of form. In his celebrated Dance of Death, he
has notwithstanding seized t\\Q fantastic princijde, and carried it out in its
deepest meaning, and with the most forcible poetic feeling.
He was the great portrait painter in England during the reign of Henry
No. 62 . The Prodigal Son in the foreground spending his Patrimony
with his Mistress — playing at dice with a Gamester, who sweeps the
Money off the table with one hand, and draws his Rapier with the other ;
in the background driven from the house by' two Women ; feeding the
Swine ; and returning to his Father.
Size — 1 foot 3 high, 1 foot 11 inches wide.
(From the Eoscoe Collection.)
The different scenes of this interesting story are shown in the background,
as was usual with the painters of that day ; and the highly finished head of
the prodigal is stated in the Roscoe Catalogue to be the portrait of the
painter.
Dr.Waagen says, “ This picture is of the artist’s earlier period, in a yellow-
ish tone, very highly finished, and full of life and spirit ; ” and he further
particularly calls attention to it on these grounds, in his “ Walk through
the Art Treasures at Manchester, under the guidance of Dr. Waagen''
Its number there was 469 ; and Mr. Scharf says, that though no specimen of
HObBEIN’S power in history painting, there are many amusing points of
detail, the larger group forming only a very small part of the subjects con-
tained in the whole picture — the rest being revealed in numerous small
groups in the distant landscape.
No. 63 . Portrait of Marguerite de Yalois, sister of Francis I.; with a
small green parrot on her right hand ; in a rich dress ; background of
crimson damask.
Size — 2 feet high, 1 foot 8 wide.
(From the Roscoe Collection.)
This picture was attributed hj Mr. Roscoe to LEONARDO DA VINCI
(1452 — 1519), with the remark that his pictures are so distinctly marked by a
peculiar vivacity, grace, and elegance of design, as not easily to be mistaken for
the works of any other master. — By the late J/r. after taking great
pains with the (Question, to JANET, family painter of Francis I., as in all proba-
bility a portrait of his sister Margaret de Valois, in the costume of the time.
After de.scribing it minutely and carefully. Dr. Waagen says, in his first publica-
tion, Works of Art, &c.,” “ Thispicture, which is executed throughout with the
greatest delicacy, in which the hands especially are masterly, is of the later and
29
most finished time of IIOL BEIN ; henco it is whiter in tlie liglits, and greyer in
the shadows, than in his earlier pictures. The Lady has a striking resemblance
to Francis I., and is in all probability a relation of his ; even Passavant noticed
this likeness, and his surmise that it is Margaret de Valois is probably cor-
rect.” Mrs. Jameson {Memoirs of the Early Italian Painters) says, “ The
Falconer at Windsor I believe to be by HOLBEIN, and it is curious that
this is not the first nor only HOLBEIN which has been attributed to
LEONARDO. There is one in the Liverpool Institute.^ and I have known
othersP Passavant' s words are, “ A beautiful female portrait, sumptuously
attired, by HOLBEIN, is here wrongly imputed {in Mr. Roscoe's Catalogue)
to LEONARDO DA VINCI. A similarity in the mouth to that of the Mona
Lisa by that artist may have given rise to this misstatement, otherwise the
features exhibit a striking resemblance to those of Francis I, The drawing
of the hands is beautiful. A beautiful picture, unfortunately rather
obliterated.” — {Kunstreise durch England und Belgien )
P.S. — Whilst this (1851) Catalogue is in the press, Mr. Joseph Brooks Yates
-has shown me a memovsinAum, jiist rceeived frovi Dr. Waagen himself., with his
present impression of this Protean picture, and attributing it to “JEAN
CLOUET, named JANNET, father of FRANCOIS CLOUET, also called
JANNET,” — probablythe well-known artist JANET, to whom Mr. Winstanley
always persisted in thinking that this Portrait should be assigned. Fiorillo
{Geschichte der Zeichnenden Kunste, Mahlerey in Frankreich) mentions FRAN-
COIS CLOUET, named JANE'F, and CORNEILLE of Lyons, as good por-
trait painters in the time of Francis I., the first the author of many por-
traits of royal personages and othei-s in France, and the latter whom
Brantome mentions as having seen at Lyons, where he had painted “ En
line grande chambre, tons les grands Seigneurs, Princes, Dames, &c., de la
Cour de France.” Amidst these not only conflicting but unsettled opinions
of such very high authorities., giving the picture with equal confidence, not only
to so many different Masters, but successively to an Italian, a French, and a
German School of Art, 1 can only decide that a portrait, whicli has borne so
many successive designations, should retain in this Gallery and Catalogue, the
position to which 1 think it properly entitled, that of a genuine and very
fine and interesting work of HANS HOLBEIN. — T. W. It., Allerton Priory,
1851.
In Dr. Waagen's last publication, “ Treasures of Art, Ac.f in which a com-
plete revision has brought the work up to the year 1 853, he says, “ The name
of HOLBEIN was given by my authority,” (as well as with that of the other
very eminent authorities cited above,) “ in the Catalogue of 1851, to an admir-
able portrait of Margaret of Valois, sister of Francis I., and formerly quite
erroneously ascribed to LEONARDO DA VINCI. But subsequent studies
have, to my regret, proved that the name of HOLBEIN is also incorrect ;
for having seen the portrait of Leonora, sister of Charles V. and wife of
Francis I., at Hampton Court, by JEAN CLOUET,* father of the well-
known FRANCOIS CLOUET, called JANE'E, I can no longer doubt that
this picture is also by him. His works are also easily confounded with
HOLBEIN’S later productions. Those of FIOLBEIN may be distinguished
by a more delicate understanding of forms, those of JEAN CLOUET by a
more generally delicate, tender, and silvery tone, and by a smoother touch.
The hands especially of this picture, though it is somewhat injured, are ot
* .JEAN, the father of FRANCOIS CLOUET, rescued from unme- ited oblivion by the
Count Leon de Laborde (Renaissance des Arts a la Cour de France), was a far better painter
than his Son, and occupied the same position at the Court of Francis I. that HOLBEIN did at
that of Henry \l\l, — (Waagen.)
30
singular beauty.” It was No. 510 of the Manchester Exhibition of Art
Treasures, and was there singled out for attention by Dr. Waagen as “ of fine
conception, and a delicate silvery tone.” Mr. O'Neil says “ HOLBEIN, quite
correct, and an admirable specimen and, however unwilling not to defer
to such an authority as Dr. Waagen, who, in like oi3position"^to other hioh
authorities, gives HOLBEIN’S portrait of Francis I., at Hampton Court, to
his friend JEA.N CLOHET, I cannot but adhere to the same view, and
still leave this interesting picture undisturbed in its present position. — ( T.
W. R. 1857.) ^
In the Netherlands we find at this period many artists, led by the fame of
the great ITALIAN MASTERS to devote themselves to the study of
ITALIAN ART ; and one of the best of these, and contemporary with the
great master of the SCHOOL OF BRABANT, QUINTIN METSYS of
ANTWERP, is
BERNHARD VAN ORLEY, called BERNHARD OE BRUSSELS.
1490— 1560.
This celebrated painter went veiw .young to Italy, where he had the good
fortune to become a pupil of RAPHAEL, and was employed in finishing
several of the pictures of that master. He was a favourite with Charles V.,
and his pictures ranked with those of the most celebrated mastei-s of that
day.
“ Als die Urheber dieser ganzen Richtung sind JOAN MABUSE und
BERNARDIN VAN ORLEY zu betrachten.” — {Waagen. Verzeichniss der
Kbnigl Gemdlde Sammlung. Berlin.')
No. 64 . The Holy Family. The Virgin and Child under a Canopy ;
Joseph gathering Dates from a Palm-tree. Background, a rich landscape.
Size — 2 feet 8 high, 1 foot 11 wide.
From the Roscoe collection ; and No. 505 in the Catalogue of the Manchester
Exhibition of Art Treasures.
This picture was attributed by Mr. Roscoe, but not without much
doubt, to LORENZO DA CREDI, wRose works, he says, exhibit a middle
style between those of PERUGINO and LEONARDO DA VINCI, all
three pupils of ANDREA VEROCCHIO, andnre so highly finished “that all
pictures seem only sketches in comparison.” — (Vasari.) Dr. Waagen, with-
out hesitation, pronounces it the wmrk of BERNHARD VAN ORLEY’ ;
and says, “ Finely executed by this artist in his rather cool flesh tones, from
a composition by LEONARDO DA VINCI. The expression of tenderness
in the mother is very deeply felt. The best Flemish work from an Italian
original I have ever seen.”
Another of the most pleasing masters of this School, wRich, excepting
in portrait, requiring direct adherence to life and nature, got no farther
than imitation of external types, without spiiit, meaning or internal
life; is
LAMBEET SUSTERMANN— called LOMBARD. 1500— 15C0.
This able German painter, pupil of MABUSE, studied in Italy under
ANDREA DEL SARTO, obtaining the grace, elegance, and neatness of the
pencil of that great master. On returning to his country, LIEGE, he
endeavoured to introduce the Italian taste among his countrymen, but, failing
in his laudable endeavours, he partly adopted the style of his countiy, but could
never totally leave the refinement of the style he had acquired. — {f)ld Cat.)
LAMBERT SU A VI US engraved from his works, and the similitude of the
names has caused the painter to be called SUA BIUS. His pictures are scarce,
and are remarkable for the correctness of their drawing, and are frequently
mistaken for the works of one or other of the Italian masters.
Or, IAN MOSTAERT? 1471—1555.
A very able and admirable painter of history and portraits (the Court
painter of Margaret of- Anjou), born at Haarlem — all whose works show a
great deal of spirit and judgment, and whose landscapes are distinguished by
a neat maimer, and a number of small well-designed figures. — {Filkington
and Fuseli.)
No. 65 . The Madonna and Child. In the background the Murder of
the Innocents, in small spirited Figures.
Size — 1 foot 2 high, 1 foot wide.
From the Roscoe Collection ; and No. 485 of the British Art Treasures in
the Manchester Exhibition.
Dr. Waagen., in his first work, gave this picture to HERRI 1)E BLES
(ClVE'l'TA) but says in his last: — “I formerly believed this to be a CT-
VETTA, but my subsequent studies in churches and collections in Belgium,
have convinced me that it is a IAN MOSTAERT.”
HERRI DE BLES, called CIVETTA. 1480—1550.
No. 66. Christ on the Mount of Olives.
Size — 1 foot high, 1 foot 4 wide.
(From the Roscoe Collection.)
To this artist, one of the older Masters of the sixteenth century in the
NETHERLANDS, Dr. Waagen gives this, as he describes it, — ^'‘delicate Utile
'picture^^ — “therefore, at least forty years after the death of MARTIN
SCIION to whom it had before been ascribed, its ]iosition being
No. 32 in the Roscoe Catalogue. The Owl jdetures of this master, as they
were called from his peculiar mark, the Civetta, were so delicately pencilled
and finished, and his landscapes so agreeably invented and well executed, as
to have been in great request even in Italy.
MARTIN SCHON, or SCHONGAUR. 1453—1499. Bartsch, Ottley,
iitanley.~-\Wi^. Waagen, Was, the old Roscoe Catalogue says, at the head
of a large family of artists, engravers as well as painters, and that part
of this picture (the figures of Christ and his Apostles), has been
engraved by this artist himself. He coincides with the Flemish masters
in his views of life, but does not thoroughly agree with them in h.s
execution. He gives to his figures, Kugler says, a peculiar expression of
earnest mildness and piety, which seems the result of a mind at rest within
itself, and with the world ; no feeling of narrow-minded devotion, or fantastic
enthusiasm, but the tranquillity of a noble manly soul. Dr. Waagen, that tliis
greatest German painter and engraver of the fifteenth century, unites, with a
knowledge of the laws of composition, a beauty and purity of religious feeling
in the heads of his Saints, which places him in close affinity with his contem-
porary, PIETEO PEKUGINO.
JOHANN ROTTENHAMMER. 15G4— 1606.
No. 07. The Offerings of Cain and Abel.
Size — 10 inches high, 8 inches wide.
This artist was born at Munich, but studied in the ITALIAN, more par-
ticularly the VENETIAN SCHOOLS, and showed ability, though much of
mannerism ; never losing entirely the taste of his own country.
OLD FRENCH SCHOOL.
No. 68. The Burial of Christ. A Pieta attended by Saints.
Size — 3 feet high, 2 feet 5 wide.
(From the Roscoe Collection.)
This curious early picture of the French School, is on wood, and would
appear from an almost illegible old French inscription, to have been the
votive offering of some miserable victime in the year 1504. The heads are
.surrounded with gilded glories. The expression of the countenances is
pleasing and natural. The last line of the inscription appears to be : —
“ PRIES DIEU QUIL LUI DNT LA VIE POURABLE.”
“Very remarkable, but quite covered with cracks, and too dirty for any
exact opinion.” — {Waagenh)
It was No. 470 of the British Art Treasures in the Manchester Exhibition.
33
ITALIAN SCHOOLS OF THE SIXTEENTH CENTURY.
With the great masters of the Sixteenth Century, we also enter, somewhat later,
on the period of the highest development and decline of the Italian Schools. All
the elements which had existed apart and composed distinct styles — all the qualities
which had been successively and exclusively developed — were united for a short
period, of little more than a quarter of a century, in immortal master works,
representing the most elevated subjects in the noblest form, and with a depth
of feeling never since equalled. At the head of this new period, Kvf/ler
places LEONARDO DA VINCI, whose genuine works are very rare, but who,
after leaving Florence, formed numerous scholars in Upper Italy, and particularly at
Milan, by whom most of the w^rks r.ttributcd to a master, who painted slowly, and
could never satisfy himself, Avere at all events finished. As already stated, the No. 63
in this gallery, though once, is no longer, attributed to this great master; and
LORENZO DA CREDI (See Nos. 25 and 64) Avas the contemporary of LEONARDO
in the school of ANDREA VEROCCHIO, Avho copied his companion most success-
fully, but whose original compositions are limited to the narroAv circle of tranquil Holy
Families, painted in a simple graceful manner, with occasionally something of the
style of FERUGINO.
But of one— MICHAEL ANGELO BUONAROTTI-avIio, says Dr. Kugler,
(like LEONARDO,) led the way in accomplishing the perfection of art, and shone
as one of its brightest lights — a spirit Avhich kneAv Iioav to embody its profound
thoughts in distinct creations, without having recourse to the symbolic veil — one
Avhose figures, so to speak, have a certain architectural grandeur, the expression of
primeval strength, stamping them, Avhether in motion or in rest, Avith a character
of the highest energy, of the intensest will — this collection possesses a most valuable
and interesting production.
MICHAEL ANGELO BUONAROTTI began his career in the School of GHIR-
L.^NDAIO, but soon turned to the study and practice of sculpture ; and, like his rival
LEONARDO, was at once architect, sculptor, painter, and equally great in each art
— as well as an excellent poet and musician, conversant Avith science, and a profound
anatomist. His most perfect Avorks are those in the Sistine Chapel at Rome ; and the
Prophets and Sybils — mighty beings Avho, Avhile they feel and bear the soi rovvs of a
corrupt and sinful Avorld, have power to look for consolation into the secrets of the
future — are the most Avonderful forms that modern art has called into life. The
prince of painters, RAPHAEL, is said to have often exclaimed, that he thanked
God he was born in the days of MICHAEL ANGELO.
FLORENTINE SCHOOL.
MICHAEL ANGELO BUONAROTTI. 1474—1563.
No. 69. Christ and the Woman of Samaria at the Well, Painted iu
chiaroscuro.
Size — 2 feet 6 high ; 1 foot 11 Avide.
(From the Roscoe Collection.)
Engraved by Ant. Lafrery and N. B. Lotaringus — Landon : Vol. I. PI. 42.
Vies et CSuvres des Peintres — .Michel Angelo.
“A masteqfiece of art, designed by MICHAEL ANGELO for the Marquis del
Guasto, for the ])urposc of being painted in oil by JACOPO CARRUCCl, called
PON TORMO-(1493— 1558) a scholar of ANDREA DEL SARTO— Avhich
Avas formerly in the collection of the King of Naples at Capo di Monte, and Avas
brought to this countiy by the late William Young Ottley, Esq." By hhn, by
Mr. Roscoe, and by many other connoisseurs, and in Italy, its genuiife
34
cbaraeter was never doubted. But Dr. Waagen says of this valuable work,
“ From MICHAEL A^GELO’S well-known composition of Christ with the
^Voman of Samaria, painted in chiaroscuro. Imbued in an unusual manner
itith the spirit of MICHAEL ANGELO, and therefore certainly by one of his best
Scholars^ and (remarks on the Raising of Lazarus, in the National Gallery)
that “ not a single painting in oil by him can be positively pointed out ; ” and
that the only easel pictures of his known to exist are that in the Tribune at
Florence, and Mr. Labouchere’s Holy Family, assigned to GHIRL ANDi^ JO, but
now by Dr. Waagen to his illustrious pupil. Dr. Kugler too, in an enumeration of
a few of the small number of easel pictures ever painted by an artist who usually
allowed his scholars and other artists to copy his cartoons, and, as a counterpoise
to the School of RAPHAEL, thus united his own admirable drawing with the
beautiful colouring of the VENETIAN SCHOOL — mentions this work as executed
by one of his best Scholars.” The comment made to me by Mrs. Jameson,
another rer?/ high authority, is, “ tAe Composition o/ MICHAEL ANGELO, but
not painted by him, I think, or rather, I am sure.” Mr. O'Neil's experienced eye
leads him to be contident that it is by SEBASTIAN DEL PiOMBO — (1485 — 1547-)
Dr. Thomas Stewart Traill, of Edinburgh, formerly President of the Institu-
tion, and whose name stands so high in all wmys, concurred with Mr. Roscoe in
thinking this an actual BUONAROTTI, and was confirmed in this opinion by
having seen several of his drawings in the collection of the King of Holland before
it was dispersed, “ like this in every respect.”
Mr. Ottley says, “ One of the three compositions which MICHAEL ANGELO
made for the Marchioness of Pescara, in monochrome, and a work in which we
recognize a grand simplicity of treatment, very appropriate to the occasion — one
not of action, but of thought.” “One of the very few undoubted productions of
his hand in this countr}’.’’ — Art Treasures Examiner.
The question is really not one of much consequence, as there is no question, and
there can be no doubt that here is found one of those extremely rare oppor-
tunities of becoming acquainted with a grand example of the lofty spirit, style, and
character of one of the genuine works of MICHAEL ANGELO. — {T. W. R.)
It was No. 34 of Mr. W. Y. Ottley’s Sale Catalogue, 1811 ; and No. 184 of the
Manchester Art Treasures Exhibition, 1857, and was described by Mr. Scharf a
chiaroscuro painting, probably an emanation from the School of MICHAEL
ANGELO, well known by an old engraving, and remarkably bold in conception,
but with the same peculiarities and faults as the famous chiaroscuro design* from
MICHAEL ANGELO’S cartoon at Pisa — now atHolkham.
The foremost of the SCHOLARS of MICHAEL ANGELO is VENIJSTI— dis-
tinguished by delicate and neat execution, beauty of colouring, and grandeur of
composition ; and who was also a pupil of PERINO DEL VAGA — (1500—1547.)
MARCELLO VENUSTI. 1515—1576.
No. 70 . The Infant Christ asleep in the Lap of the Virgin, attended
by St. John and St. Joseph.
Size — 11 inches high ; 8 inches wide.
“ A highly finished picture on copper, fi'om the magnificent design of MICHAEL
ANGELO, -who frequently made the sketches for VENUSTI, as well as for SEBAS-
TIAN DEL PIOMBO. The graceful figure of the Sleeping Infant is most
admirable. Many pictures of this subject are known, but there is a difference in the
composition of each of them.” — {Old Cat.)
“The well-known Holy Family with the Sleeping Child; only that two angels
holding the curtains are introduced here. Not good enough for MARCELLO VE-
NUSTI.” — ( Waagen.)
“ Composition by MICH AEL ANGELO.” — Mrs. Jameson.
It was No. 224 in the Catalogue of the Manchester Art Treasures Exhibition, and
35
entered as MARCELLO VENUSTI, — a “ Silentium,” after MICHAEL ANGELO ;
and is referred to by Mr. Scharf with the MICIIAhiL ANGEL(J class of the
Florentine School, under the head of the famous “ Silentium,” so often engraved
by BONASONI and others, and as appearing in tvm forms in th'it exhibition, this
beautiful little picture, and No. 187 “ on a large and very pretentious scale.”
FRAKCESCO DE ROSSI, or DE SALVIATI. 1510— 15G3.
No. 71 , "FEe Virgin and Child, with St, John.
Size — 1 foot 2 high ; 7 inches wide.
“ A cabinet picture, by a master who ranks in the Florentine school as a successful
pupil of MICHAEL ANGELO, and was also an intimate friend of GIORGIO
VASARI, and allied to him in style.” — {Old Cat.)
GIORGIO VASARI. 1512—1574.
72 . Three Apostles.
Size — 4 feet 10 high ; 5 feet 6 wide.
A masterly composition of three figures, who appear by their attributes to be St,
Paul, St. Peter, and St. John, tl)e latter in his advanced age.
» Vasari studied under MICHAEL ANGELO, and with ANDREA DEL SARTO.
The grandeur of design of the school of the former, and the chaste colouring of the
latter, are united in this picture. The figures are full of animation. — {Old Cat.)''
“ Genuine, and, for him, careful.” — {Waagen.)
“Bel quadro di GIORGIO VASARI.” — (Cavalcaselle.)
No. 195 of the Manchester Art Treasures Exhibition.
Whatever the excellence of some few of the works of this versatile artist — and this
is, without question, a fine picture — they conduct us to the period of that decline of
art, want of repose, simplicity and truth, that mannerism, which MICHAEL
ANGELO himself lived to witness in his imitators and copyists. VASARI’S
greatest merit consists in his literary labours, his great and valuable biographical
work : — “ Vite de’ piu eccelenti Pittori, Scultori, cd Architetti,” published in 1550,
3 vols. quarto.
FRA BARTOLOMMEO DI SAN MARCO— called IL FRATE. ?
1469—1517.
OR
ANDREA DEL SARTO? 1488—1530—1550?
No. 73 . The Virgin, with the Infant .standing on a Cushion, and St.
John the Baptist by her side.
Size — 2 feet 3 high ; 1 foot 8 wide.
“ \ specimen of the Florentine Sciio.ol, by a contemporary of MICHAEL
ANGELO, showing, by a fine state of preservation, the colouring of that period of
the art in Florence. The drawing of the figures resembles that of ANDREA DEL
SARTO, but the composition is peculiarly that of FRA BARTOL(>MMEO, and
marks the manner of that great artist, to whom RAPHAEL was indebted for his
colouring, and whom he taught to improve his perspective.”— (0?noGNESE School, and unite
a colouring peculiar to GUERCINO’S most careful productions, with all the grace
and refinement of ANNIBALE CARRACCI, and the power of DOMENICIIINO.”
— {Old Cat.) “Original?” — {Cavalcaselle.) “An old copy.” — {Waagen.)
No, 109 . Dead Body of the Saviour, and St, John.
Size — 10 inches high, 8 inches wide.
It was attributed to SEBASTIAN DEL PIOMBO, by 3Ir. Winstanley, and
described as “a fine example of the grand style of drawing; the gigantic power of
MICHAEL ANGELO, enriched by the force of Venetian colouring, with all the
effect of a figure of colossal size-” — {Old Cat.)
“But much too feeble for SEBASTIAN DEL PIOMBO,” says Dr. Waagen . —
Mrs. Jameson., “ a bad picture :” — and “ Una cattiva cosa della scuola Bolognese ” —
{Cavalcaselle.)
48
BENEDETTO GENNARL Lived about ]610,
Scholar, and most successftxl of the imitators of GUERCIXO, whose style he
followed, and whose works he copied, with an exactness which renders it very
difficult to distinguish his from the originals.
No, UO. St. Jerome translating tlie Holy Scriptures, assisted by
a Learned Jew,
Size — 3 feet high, 4 feet 3 wide.
“ A genuine and good specimen.’’ — {Waagen.')
Another ECLECTIC SCHOOL is that of the PEOCACCINI at Milan, founded
by ERCOLE. His son GILLIO applied himself to the imitation of COREGGIO,
and in small cabinet pictures not without success.
GIEXIO CESARE PROCACCINI. 1548—1626,
No, m. Marriage of St. Catberine.
Size — 1 feet 8 inches high, 4 feet 10 wide.
Dy. Waagen says that, “ although a somewhat slight work of this master, this
picture deserves notice ; ” and Mr. Scharf. •• that this picture, Xo. 228 of the Man-
chester Art Treasures Exhibition, and one other, Xo. 229, were fair examples of the
works of this family ’’—precursors of the CARRACCI at Bologna ; and although
diligent students of RAPHAEL and MICHAEL AXGELO, more directly
influenced by PARMIGIAXIXO and CORREGGIO. The German blood, with its
inherent quality of perseverance and industry, led the Italian spirit back into the
channel of labour and study from the best models, as we see in the Schools of the
CAMPI. PROCACCIXI, and CARRACCI. In all these cases German perseve-
rance was the foundation.
49
SEVENTEEN'iH CExNTUKY,^
ITALY AND SPAIN.
The Italian artists called Eclectics, conduct us, as has just been men-
tioned, into the Seventeenth Century. In fierce opposition to them
arose a class called the Naturalisti, or Naturalists, who endeavoured
to form an independent style, distinct from those of the earlier masters,
and based on a bold, lively, indiscriminate imitation of common nature.
The Naturalisti appeared in their greatest strength on the volcanic
ground of Naples, in determined opposition to the followers of the
Carracci, and where this school had first broken out into the wildest
naturalism. At their head, and ablest of them all, was
GICrSEPPE PilBERA, called LO SPAGNOLETTO.— 1593— 1656.
RIBERA was born in the pi'ovince of Valencia, in Spain, and first stiidied under
RIB ALTA. At the age of 16 he went to Italy, and at Naples received instructions
from CARAVAGGIO, much of whose severity of style he retained to his death. He
also travelled to Parma, where he studied the great works of COREGGIO and the
Venetian Masters, to whom he is indebted for his peculiar vivacity of colour. He
was fond of painting martyrdoms, executions, and especially the heads of old men,
in which he showed great power. Many of his works are to be found in the finest
collections of Spain and Italy, as well as in the churches and convents of difterent
parts of Europe. They are correct in form, though it is of the most ordinary cha-
racter, and, notwithstanding his excessive love of strong shadows, they are rich in
colour.
No. ]12. The Entombment of Christ.
Size — 8 feet high, 6 feet 6 wide.
“ This splendid gallery picture displays grandeur of conception, correct drawing,
powerful expression, and great knowledge of chiaro-oscuro, with masterly grouping.
The head of Christ is in strong shadow.” — (^Old Cat.)
“The cold red fiesh tones, and the black and heavy shadows, shew that this is not
by SPAGNOLETTO, but one of the many skilful imitations of that master by the
hand of LUCA GIORDANO.”— ( lUaa^en.)
* Dr. Waagen has remarked,- -(Tbeasores op Art in Great Britain, Vol. HI., page 239,)— “That
in thus dividing my subject, I have overlooked the fact tliat most of the Masters mentioned in the for-
mer category (.that of the Bolognese Schools), flourished to the Seventeenth Century." This fact reallg
was noticed both above, and previously, in my 1851 Catalogue, and is now further pointed out in the
account of the general arrangement and classification of the pictures on the first page. The division in
question, I do not think it would be expedient to abandon. The classification by centuries, necessarily
involves ranging under each century Masters whose lives either extend to the succeeding, or date from
the preceding century, as their lives rarely, of course, terminate or commence with the exact closing
year ; and as grouping, as well as purely chronological classification has been the principle adopted, it
is surely the closing group with which we should, as nearly as possible, close each great chronological
division. Not only were almost all of the above-mentioned artists of the Eclectic School born in the
century under which they are classed, even when their lives did not terminate within that limit, but
this group exhibits a closinar effortr to restore and imitate the qualities of the great Masters of the Six-
teenth Century, — whilst by that succeeding group, with which Art in the Seventeenth Century properly
seems to me to commence— that of the Naturalists — all such attempts were entirely abandoned, and
totally different principles and models adopted. — {T. W. R.)
50
MATTIAS PRETI— called IL CAYALIEEE CALABRESE,
1613— 1699,
"Was one of tlie Naturalisti of this time. He was a native of Calabria, and went
early to Home, where he studied the works of RAPHAEL, MICHAEL ANGELO,
and others, as well as from the antique. He visited other parts of Italy, and became
knovm to RUBENS, but preferred the style of GUERCINO and PAUL VERONESE,
vdth both of whom he studied. He had the honour of knighthood at Malta, where
he painted some of his finest pictures. He was fond of the terrific, and painted
scenes of martyrdoms, and those subjects to which his powerful colouiing gave effect.
His compositions and individual characters are much admired.
In his painting, says Lanzi, he may be compared to a man whose travels have
heen_extensive, and who never hears a subject started to which he does not add
something new. — The drapery, ornaments, and costume of CALABRESE, are
highly varied and original. —
No. 113, The Nativity, or Adoration of the Shepherds.
Size — 10 feet wide, 9 feet high.
No. 114. The Adoration of the Magi.
Size — 10 feet wide, 9 feet high.
No. 115 . The Marriage at Cana.
Size — 10 feet wide, 9 feet high.
No. 116, Mary Anointing the Eeet of Christ at the House of Simon
the Pharisee.
Size — 10 feet wide, 9 feet high.
“ These noble historical works were purchased from the collection of a Neapolitan
nobleman, and presented to the Royal Institution by some gentlemen of Liverpool.’^
—{Old Cat.)
“ AU these pictures, which are executed in the master’s off-hand style, shew, more
than usual, the influence of PAUL VERONESE.” — ( Waagen.)
LUCA GIORDANO. 1632— 1705.
This extraordinary painter was one of those eccentric geniuses whose history
cannot be given in the limits of a catalogue. He first studied under SPAGNOLETTO,
and afterwards under PIETRO DA CORTONA. He obtained the name of
“ LUCA EA PRESTO ” fi'om the mercenary eagerness of his father, who, deter-
mined to enrich himself by his son’s talent, scarcely allowed him time for refresh-
ment, and even when at his meals would call out “ LUCA EA PRESTO;” — his
companions, in consequence, gave him that name, and it is not unfrequently that
the connoisseurs of the present day call his inferior Avorks “LUCA EA PRESTO.”
“In general, a careless, 6ad painter.” — {Mrs. Jameson.)
“ He possessed, like DAVID TENIERS, the extraordinary talent of painting in
the style of the most eminent masters, frequently decemug able judges, as Avell as the
artists themselves. He had a rapid execution, and his Avorks are spread over Europe,
but his finest pictures are held in high estimation by their possessors.” — {Old Cat.)
No. 117 . Dionysius, the Tyrant of Syracuse, as a Schoolmaster, in-
structing his Pupils.
Size — 6 feet 6 high, 8 feet 6 wide.
“Boldly executed in his brick red tones.” — (lUooyc??.)
CAV. FRANCESCO SOLIMENE. 1G57— 1747,
Was one of the most distinguished of his followers.
“ SOLIMENE was taught the first principles of his art by his father, a painter
some note in the Neapolitan territory. He was very assiduous in his profession, and
afterwards studied the works of the great mastei’s of Italy, especially at Bologna,
where he adopted the style of GUEliClNO and the CAKRACCI, but afterwards
preferred that of CARLO MARATTI. His fine pictures are highly valued.”
—{Old Cat.)
No. 118 , The Virgin and Child surrounded by Angels.
Size — 5 feet 3 high, 3 feet 9 wide.
“ An excellent picture for him.”-— ( Waagen.)
SALVATOR ROSA. 1614—1673.
Another artist from the School of SPAGNOLETTO.
No. 119 , A Landscape with Ruins — the Holy Family in their
Flight into Egypt, attended by the Archangel Michael, are crossing a
river.
Size — 4 feet 6 high, 6 feet wide.
“The figures in this fine production of SALVATOR’S are inserted by LUIGI
GARZI, a ])ainter of Pistoia, with great ability. This picture is from the collection
of the late Wm. Earle, Esq .” — {Old Cat.)
Dr. Waagen says — “ a Landscape with a Riposo, by LUIGI GARZI. The fore-
ground unusually green, and the background unusually blue, for him.”
ANTONIO CANALE— called CANALETTO— 1697— 1768—
OR,
BERNARDO BELLOTTO ? — his nephew — a skilful painter born at
Venice in 1724.
No. 120 . View of the Entrance to the Arsenal at Venice, with
the Lions.
Size — 1 foot 6 high, 2 feet 4 wide.
“An early, but powerfully coloured picture, by the master.” The following de-
scription is given by a modern writer : “ Two colossal lions in marble, trophies won
by Morosini, guard the entrance ; but, like the lion of St. Mark, they have been
tamed. Over the gate, which is very grand, is a statue of St. Justin a, and over that
of the vestibule an exquisite statue of the Virgin, by Sansovino .” — {Old Cat.)
“ Una debole imitazione di CANALETTO.” — {Cavalcaselle.)
Dr. Waagen says, “a good picture by BERN^ARDO BELLOTTO, not by
CANALETTO.” ^ ^ » O'
The two are painted so much alike, that it is very difficult to distinguish their
w’orks ; BELLOTTO, being long the pupil of his uncle, completely acquired las
manner of execution.
52
BENEDETTO CASTIOLIONE. 1616— 1670.
121 . A Grey Horse standing near an Italian Ruin, with a
Shepherd and his Flock.
Size— 2 feet 1 high, 2 feet 9 wide.
“A master celebrated for the correctness Avith which he painted cattle and figures.”
^ (Old Cat.)
“ One of his feeble works.” — (Waagen.)
V '
GIOVANNI FRANCESCO ROMANELLI. 1617— 1662.
No. 122 . The Flight of Clelia and her Companion across the Tiber
from, the Roman Camp.
Size — 5 feet 6 high, 8 feet 6 wide.
“ROMANELLI was a pupil of PIETRO DA CORTONA, whose manner he
adopted. He painted for Louis XIV., and his Avorks were much admired at the
court of that monarch.” — (Old Cat.)
“ The motions animated, the heads and forms pleasing.” — ( Waagen.)
GIOVACHINO ASSERETO. 1600—1649,
ASSERETO was horn in Genoa, and ranks in that School. He was in early-
life the pvipil of LUCIOM BORZONI, afterwards of ANDREA ANSALDI. He
painted several pictures for the churches in Genoa, where his works are much ad-
mired.
He was surnamed “ IL PRETE GENOVESE,” — was one of the NATURALISTI,
and esteemed the most spirited artist of his OAvn School. — “ Liguricje, decus.”
No. 123 . Christ Disputing with the Doctors in the Temple.
Size — 4 feet high, .5 feet 6 wide.
“ As a work of art this picture is equal to those of the Bolognese School. It is
from the collection of the late William Earle, Esq.” — (Old Cat.)
“In this Genoese master, I recognise a rude imitator of BERNARDO STROZZI.”
. — ( Waagen.)
JUAN SIMON GUTIERREZ. Flourished from 1664 to 1672.
This painter, bora at Seville, was a pupil of MURILLO, of whom this picture
is worthy, and acquired the fine colouring of his master. He w^as an able supporter
of the character of the School of Seville.
53
No. 124 . Saiut Francis in Ecstasy.
Size — 5 feet 6 high, 4 feet wide.
No. 646 of the Manchester Exhibition of the Art Treasures of the United King-
dom, and the only illustration of this rare and admirable master.
“This scholar of MURILLO, hitherto unknown tome, recalls his master in realistic
conception and warmth of colour. The picture is carefully executed.” — ( fVaaffen.)
SCHOOL OF VELASQUEZ.
VELASQUEZ belonged, like most of the painters of Spain, to the Naturalist
School, and his style of execution bears much resemblance to that of SPAGNO-
LETTO. ZURBARAN, painting constantly from nature, and adopting a forcible
natural style, acquired the name of the Spanish CARAVAGGIO.
No. 125 . The Portrait of a Spanish General in Full Uniform.
Size — 4 feet 1 high, 2 feet 10 wide.
“From the collection of Lord Berwick, who purchased it at Naples, where it Avas
said to be by VELASQUEZ.”— (OW Cat.) “ ZURBARAN ? "—{O’JS/eil.)
“ True in conception, powerful in colour, and careful in treatment ." — ( Waagen.)
NICOLAS POUSSIN. 1594— 1665.
A celebrated French Artist of the School of the Carracci ; and pronounced by
Dr. Waagen^ the greatest Master of the French School.
No works of any modern, says SIR JOSHUA REYNOLDS, have so much of the
air of antique painting as those of this artist. His best performances have a remark-
able dryness of manner, by no means to be recommended for imitation, yet perfectly
correspondent to that ancient simplicity which distinguishes his style.
Veneration for the antique, elevated feeling for nature, and fine drawing, are
justly ascribed to the classic POUSSIN, but too often, with the besetting sin of
the French School, the theatrical style.
No. 126 . ^ Poetic Landscape, with Arcadian Shepherds.
Size — 3 feet 8 high, 4 feet 6 wide.
“ This picture is in the most pleasing manner of POUSSIN, when his mind had ac-
quired the taste of the antique, but his pencil had forsaken the stiffness of the ancient
has-relievo.^ and his colouring was devoid of what by a modern writer is called the
‘tan-coloured creations of POUSSIN.’ It shows an elegant poetic feeling, suitable
to the imaginative beings introduced into a classical landscape.”— (0/d Cat.)
“ A genuine and attractive work of his later time.” — [Waagen.)
SEBASTIAN BOURDON. 1616— 1671.
An able imitator of the style of the POUSSINS, whose landscapes have a wild
melancholy character, and also somewhat resemble those of SALVATOR ROSA.
54
He painted landscapes chiefly from his own imagination, and enriched them with
classical or pastoral figures with great ability, hut in peculiar taste.
No. 127 . A Bacchanalian Scene.
Size — 2 feet 9 high, 3 feet 7 wide.
“An excellent picture, treated quite in the taste of his master, NICOLAS POUS-
SIN.”— ( ^aaffen.)
No. 617 of the Manchester Exhibition, where it was considered the best example
of the Master; the intimate friend of CLAUDE, as well as pupil of POUSSIN.
FLANDERS AND HOLLAND.
PETER PAUL RUBENS. 1577—1610.
The founder of the school of BRABANT, which took its rise in the SPANISH
NETHERLANDS, and who fii'st successfully opposed the mannerists of the pre-
ceding period with works of great dramatic power and energy, and vivid splendour
of colouring, but in which the high purity and benignity of the great Italian masters
is no longer found. He was, says SIR JOSHUA REYNOLDS, the greatest mas-
ter in the mechanical part of the art, the best workman with his tools, that ever
exercised a pencil; and EUSELI, that what has been said of MICHAEL AN-
GELO in form, may be said of RUBENS in colour ; they had but one — the one
coming to nature, and moulding her to his generic form; the other tinging her with
his colour, that of gay magnificence. “ In der sogenannten breiten Manier der
Oclmalerei brachte er es zu einer erstaunlichen Meisterschaft.” — Waagen. RUBENS’
masterpiece is generally and deservedly considered to be his Descent from the Cross,
at Antwerp, painted a few years after his return from Italy; and the grand powerful
conception and treatment of the same subject by DANIEL DA VOLTERRA (1509
— 1566), in his noble work in the Church of Trinita de' Monti, at Rome, (pronounced
by Lanzi worthy of MICHAEL ANGELO, and probably his to this extent,) and
by POUSSIN one of the three finest paintings in the world, indicates, I think it can
scarcely be doubted, the source to which RE BENS was indebted for a composition so
loftily, sublimely superior to his ordinary works, and which he has adopted with an
absence of almost all attempt at originality in these respects. — {T, W. R.)
No. 128 . The Crucifixion. — A Copy?
Size — 4 feet high, 3 feet wide.
“ Painted for the Chapel of the Bernardines, at Antwerp. The arms of the superior
of the convent, for which it was painted, are in the corner of the picture. The
awful grandeur of the event is finely expressed.” — {Old Cat.)
THE SCHOOL OF RUBENS.
No. 129 . The Head of an Old Man, with a long Beard.
Size — 2 feet high, 2 feet 1 wide.
“ Supposed to be the finished study for one of the figures in a large composition of
the Offering of the Magi.” — {Old Cat)
55
lu direct cojitrast to the BRABANT SCHOOL of RUBENS, in
HOLLAND the reaction from the mannered style found vent (in
REMBRANDT and his followers) in striking liglits, penetrating in a
wonderful manner, and giving life and warmth to, the surrounding dark-
ness — but without sharply defined forms. A style showing the tendency
of Northern Art to the marvellous, fantastic, and strange. “Was
RUBENS, fur die gesammten Niederlande, ward etwas spiiter ? REM-
BRANDT fiir Holland insbesondere.” — (iVaa^en.)
FERDINAND BOL. 1611— 1681.
Educated in the SCHOOL of REMBRANDT, his scholar, and a successful
imitator of his style.
No. 130, The Angel appearing to Hagar in the Desert.
Size — 3 feet 4 high, 3 feet 7 wide.
“ A very warm and careful picture by him.” — ( Waagen.)
“A fine specimen of colouring, equal to REMBRANDT, Avhose pupil FERDINAND
BOL is said to have been, and to have imitated his powerful management of the
chiaro-oscuro with great success. His portraits are much admired.” — {Old Cat.) And
the best may be mistaken for those of REMBRANDT.
It was No. 674 of the Manchester Exhibition of British Art Treasures ; and there
pointed out by Mr. Scharf as one of the group of pictures by well known pupils of
REMBRANDT, in themselves very imposing. Of all the followers of this school,
BOL has, he says, produced the most striking pictures.
ARNOLD DE GELDER. 1645—1727.
A pupil of REMBRANDT, w^hose power of colouring and effect of chiaro-oscuro
he imitated with great success. — {Old Cat.)
OR,
SOLOMON DE KONINGKl 1609— 1668.
Another follower of REMBRANDT,
“ And a DUTCH artist, who painted historical subjects of small size, well composed
and admirably coloured, partaking of the richness and glow of REMBR ANDT, in a
clearer tone.” — {Stanley’s Bryan.) “ But wants his power.” — ( Waagen.)
No. 131, The Head of a Rabbi.
Size — 2 feet 8 high, 2 feet 1 wide.
“This appears to me rather a good picture by SOLOMON DE KONINGK.” —
( Waagen.)
Amongst the most pleasing of the artists in landscape and genre paint-
ing — that is, the representation of common life in its everyday relations —
are —
FREDERIC MOUCHERON. 1633— 1686.
F. MOUCHERON, called “ The Elder,” was horn at Emden, became the pupil of
i.
56
JOHN A^SELYN, and painted in Paris for some time. He aftem'ards resided in
Amsterdam The figures are often inserted in his landscapes hj HELMBREKER,
LINGELBACK, and ADRIAN VANDERVELDE.—(0/fZ Cat.) His landscapes
exhibit very pleasing scenery, vrith light foliage apparently in motion.
No. 132 . Landscape — Evening Effect, witli Figures.
Size — 2 feet 9 high, .3 feet 7 wide.
“ Careful, but one of the works of the painter which are insipid in tone.” —
( WaageJi.)
NICHOLAS MOLENAER? Bokn 1G29.
Inscribed F. H. MANS. — 1669.
His (MOLENAER’S) subjects were generally landscapes with figures, which he
painted with great truth to nature ; particularly the winter skies and atmosphere of
Holland.
No. 133. A Winter Scene.
Size — 1 foot 6 high, 2 feet wide.
“ A good picture, by an inferior artist of the name of MANS.” — {Waagen.)
MANS painted winter pieces in the manner of MOLENAER, but somewhat
superior, and with great truth. Some are dated as late as 1677. — {Stanley's Bryan.)
No. 1012 of the Manchester Exhibition of the Art Treasures of the United
Kingdom, and the only example of the master.
J. YANDER YINNE.—Haeulem.— 1663— 1721.
Belongs to a younger branch of a family of Artists of the name, who painted a
variety of subjects.
No. 134. ^ Sortie from a Besieged Tower.
Size — 2 feet 11 high, 3 feet 8 wide.
This picture is signed and dated 1686.
NICHOLAS BEROHEM, or BERCHEM.— Haerlem. 1624—1683.
His pictures are superior to those of any painter of his country, except his con-
temporary, BOTH — and are remarkable for their composition, careful finish,
freedom of handling, warm tone of colour, and brilliant lighting.
No. 135 . Travellers and Cattle under an Archway.
Size — 1 foot 9 high, 2 feet 1 wide.
“ This picture maj’- be considered as an unfinished work of this favourite and admirable
painter. The connoisseur -will perceive that part of the principal group is finished
witli much care, and coloured with a transparent effect. The Peasant and Cow to
the left, and a part of the distant Landscape, are only sketched, but with a spirited
pencil .” — {Old Cat.)
“ Belongs to the school of BERGHEM.” — ( Waagen.)
57
FUANCIS SNYDERS, 1579— 1G57 ; or ABRAHAM HONDIUS
1638— 1695.
SNYDERS’S favourite subjects were the liuutinnjs aud battles of animals, which
he painted with great spirit, giving to every animal an expression suitable to its
nature and situation. His landscape was always designed in a line taste. Large
figui’es were often introduced into his pictures by JORDAENS and RU15EX8 with
the latter he was a great favourite, and of whose pictures he often painted the hack-
gromids . — (^Old Cat.)
No. 136 . The Boar afc Bay.
8ize — 7 feet 6 high, 7 feet 3 wide.
“ Too coarse and crude for SNYDERS. Probably by ABRAHAM HONDIUS.”
— ( Waagen.) Whose best pictures are little inferior to those of SNYDERS or EYT,
either in the spirited design of his animals, or the freedom of his touch. His chief
excellence was in the representation of dogs, in which few artists have surpassed
him. — (^Bryan.)
ROSA DI TIVOLI. 1655— 1705.
“PHILIP ROOS, who obtained in Italy the name of “ ROSA DI TIVOLI,” was
a native of Frankfort. He showed a very early ability as a painter, and was accus-
tomed to send his servant to sell his pictures as fast as his necessities obliged him to
paint. He designed his subjects in a grand style, always correct; his colouring is
full of force, his touch remarkably free, his animals have the spirit of nature, and his
landscapes were chosen from the picturesque scenery of Tivoli .” — {Old Cat.)
No. 137, ^ Stag Hunt.
Size — 3 feet 9 high, 5 feet 3 wide.
“Unusually clear and correct for her.” — {Waagen.) — him?
J. MOMPER— usually called MOMPERT. 1580—1638.
“ The works of this painter are very rarely to be met with. He painted scenes from
Italian nature Avith an extraordinary freedom of touch and truth. It Avas the style
of MOMPERT that our celebrated landscape painter, WILSON, studied Avith
success .” — {Old Cat.)
He was born at AntAverp, but his manner does not resemble that of any painter o^
his country, liaAdng nothing of their precise finishing. His pencil is broad and facile*
and his colouring clear and. of an agreeable effect, but Avith occasional stiffness and
mannerism in the forms of his trees and mountains.
No. 138 . ^ Landscape, witli Figures.
Size — 1 foot 3 high, 2 feet 4 wide.
HUYSMANN of MECHELN.
CORNELIUS (or, as he is also called, MICHAEL or NICHOLAS) HUYSMANN,
AA’as either born at AntAverp in 1648, or at Mecheln in 1636, and he either died in
1707, or in 1727. He studied under CASPAR DE WIT and JACQUES ARTOIS,
and resided principally at Mecheln, and is generally called Huysmann of Mecheln.
His landscapes and figui'es were particularly adn)ired, and he Avas considered cr.c of
the most eminent laTidscape painters of his time. Tlie several names above men-
58
tioned occur in the different writers on the subject, hut from the description of his
style of painting, it is pretty evident that the several biographies appearing in the
different Dictionaries of Painters, all relate to the same person.
He possessed great knowledge of perspective, and was particularly strong in the
representation of distant plains, and distances generally. His colouring, in com-
parison with the Plemings in general, is quite peculiar to himself. — (Bryan, Pilking-
ton, and Nagler.')
No. 139 . ^ Landscape.
Size — 2 feet 9 high, 3 feet 5 wide.
JOHAN YAN HUGTENBURG. 1646—1733.
Was a celebrated and much-admired Dutch battle painter, horn at Haarlem, and
employed by Prince Eugene to paint the battles of his campaigns Avith the Duke of
Marlborough and Prince of Orange, and their victories over the French in 1708 and
1709. He passed two years in Rome with his brother JACOB, a landscape painter,
and on his way home studied for a short time in Paris, under VANDER MEULEN,
in whom he found a great conformity of taste and talent ; but he surpasses
VANDER MEULEN in the beauty of his touch, and sometimes eAxn approaches
his famous countryman PHILIP WOWERMAN. His colouring, says Bryan, is
clear and vigorous ; his pencil neat and spirited; his skies light and floating; the
costumes and expression of the heads appropriate and characteristic of the nations
represented ; and he shews perfect mastery of the delineation of the passions, rage,
fear, pain, and despair.
No. 140 . A Battle Piece, in parts, repainted by some inferior hand.
Size — 2 feet 9 high, 3 feet 5 wide.
59
EIGHTEENTH & NINETEENTH CENTUIHES.
MODERN ART.
PETER YAN SCHUPPEN, THE YOUNGER. 1673—1751.
No. 141 . An Interior, with a Lady and a Gentleman playing the
Guitar — to which a Child is dancing.
Size — 2 feet 8 high, 3 feet 6 wide.
VAN SCHUPPEN was the scholar of the celebrated LARGILLIERE, from
whom he learned the art of portrait painting, and practised also at Vienna, where he
painted the portrait of the Emperor of Germany and of Louis XIV, and was
appointed Director of the Academy in that city.
“ A warm and careful picture.” — (Waagen.')
No. 964 of the Manchester Exhibition of the Art Treasures of the United
Kingdom, and the only example of the master.
JEAN BAPTISTE GREUZE. 1726— 1805.
Was horn at Tourhusen, Burgundy, and was at first the pupil of LANDON, at
Lyons ; but afterwards studied in the Academy at Paris, and at Rome. He was a
portrait as Avell as genre, painter, and attempted one historical picture ; but his
favourite subjects are illustrations of the affections, or domestic duties ; and he is
celebrated for his heads of young girls, which he painted with great beauty and
graceful simplicity. He is unique in the Erench School ; and few painters of that
school are more admired and highly prized in this country. He has been called the
LACHAUSEE ofpainting; and sometimes, inappropriately, the Erench HOGARTH.
No. 142 . A small Chalk Drawing, illustrative of his favourite and
popular genre style.
Size — 1 foot 5 high, 1 foot 2 wide.
No. 143 . Ditto, ditto.
Size — 1 foot 5 high, 1 foot 2 wide.
WILLIAM TAVERNER, Died, 1772.
This artist was an English amateur painter, who followed the profession of
Proctor in Doctors’ Commons ; and, although painting only for his amusement,
practised the art of painting landscapes with zeal and success, and pi’oduced some
pictures which might be mistaken for GASPAR POUSSIN, and were not unworthy
of that celebrated painter. He was one of the earliest English landscape painters. *
No. 144 . A Landscape, with Classical Figures.
Size — 1 foot 6 high, 2 feet wide.
GEORGE BARRETT. 1732—1784.
Painted for the late Edmund Burke, who was the warm patron and friend of the
artist through his professional career, as well in Dublin as in England. Barrett
60
came to London in 1762, and his works were mncli admired. In the latter part of his
life he was appointed master painter to Chelsea Hospital, and he was one of the
earliest members of the Royal Academy. — ( Old Cat.')
This artist was horn in Dublin, and was a chaste and faithful delineator of
English landscape, which he viewed Avith the eye of an artist, and selected Avith the
feeling of a man of taste. His colouring is excellent, and there is the freshness and
dcAvy brightness in his verdure which is peculiar to English scenery.
No. 14:5. ^ Waterfall, called the Dargle.
Size — 3 feet 3 high, 4 feet 1 Avide,
CHEVALIER DE VOLAIRE.
The CHEVALIER DE VOLAIRE painted principally at Naples. He Avas con-
temporary with VERNET, RICHARD WILSON, and WRIGHT of DERBY ;
and, like the latter, Avas famed for his spirited representation of the effects of fire. —
(^Old Cat.)
No. 146. The Eruption of Vesuvius, with Figures.
Size — 3 feet 3 high, 4 feet 1 Avide.
JAMES NORTHCOTE. 1746—1831.
No. 14T. Fortrait of the Artist, by himself.
Size — 2 feet 5 high, 2 feet Avide.
He Avas a pupil of SIR JOSHUA REYNOLDS, and author of his Life.
“ Original flights Avere beyond his poAver ; idml beauty he could not delineate ;
the characters Avhich act in the drama of his pictures incline to the ordinaiy and the
heavy; they have dignity, but not enough for the parts they have to play ; they
have life but it is Avithout graceful ease or heroic ardour.” Plis portraits are nume-
rous, and this is a peculiarly favourable specimen.
tlENRY FUSELI, R.A. 1741—1825.
No. 148, The NTur^'ory of Shakespere. Painted for the late W. S.
Roscoe, Esq., and deposited by the family.
Size — 6 feet high, 4 feet 1 1 Avide.
As an artist FUSELI was truly original. He had no precursor, nor is it likely
tliat he will soon have a folloAver Avith the same stamp of genius, and a mere imitator
Avould be contemptible. He could represent the pathetic or ludicrous or terrible
with equal felicity. — Sec also his drawing; the Death of Cardinal Beaufort.
GEORGE ROMNEY. 1734— 1802.
An eminent English portrait and historical painter, born at Furness in Lanca-
shire ; contemporary Avith SIR JOSHUA REYNOLDS (upon whom, in one Avalk
of portraiture, says Dr. Waagen, he folloAved close) and GAINSBOROUGH; the
former the founder of portrait and historical painting, and the latter of the landscape
school in England. Though yielding too much to the impulse of the moment, “ his
Cartoons,” says F'laxman, “Avere examples of the sublime and terrible; at that
time perfectly new in English Art.” The celebrated Emma Lyon, afterAA^ards Lady
Hamilton, served him as a model for his most successful poetic efforts.
No. 149. Sketch of the Head of a Child.
Size — 1 foot 3 high, 1 foot Avide.
61
CARTOONS.
Size — 3 feet 2 liigli, 4 feet wide.
No. 150 < Orpheus and Euiydice.
“ The dying bride,
Unwary, took along tlie river’s side,
Nor at her heels perceiv’d the deadly snake
Tliat kept the bank, in covert of the brake.” — Virgil.
“ Immanem ante pedes hydrum moritura Puella,
Servantem ripas, alta non vidit in herbd.”— Georq. iv. 457.
No. 151, Orpheus and Eurydice.
“ Then thus the bride : what fury seiz’d on thee.
Unhappy man ! to lose thyself and me?
Dragg’d back again by cruel destinies,
An iron slumber shuts my swimming eyes.
And now farewell ! ”
“ En 1 iterum crudelia retro
Fata vocant, coiidtique natantia lumina somnus.”
No- 152* Orpheus and Euiydice.
“ In vain, with folding arms, the youth essay’d
To stop her flight, and strain the flying shade.”
“ Neque ilium
Prensantem nequidquara umbras, et raulta volentem,
Dicere praeterea vidit.”
CUPID AND PSYCHE.
Psyche (4-ox” “ soul,”) occurs in the later times of antiquity, as a personification
of the human soul. Her story is found in Apuleius, and is beautifully told in
English by Mrs. Tighe, in her well-known poem.
Psyche was the youngest of the three daughters of a king, and excited by her
beauty the jealousy and envy of Venus, who, to avenge herself, ordered Cupid
to inspire her with a love for the most contemptible of men: but Cupid was so
stricken with her beauty, that he himself fell in love with her, and conveyed her to
a charming spot, wdiere, unseen and unknown, he visited her every night, and left
her as soon as the day began to dawn.
Psyche might have continued to enjoy her state of happiness, if she had attended
to the advice of her lover, who told her never to give -way to her curiosity, or to
inquire who he was. But her jealous sisters made her believe that in the darkness
of night she was embracing some hideous monster, and once unhappily, while Cupid
was asleep, she drew near to him with a lamp, and to her amazement beheld the
most handsome and lovely of the gods ; and, in her excitement of joy and fear, a
drop of hot oil fell from her lamp upon his shoulder, and he awoke.
The mythical idea of this lovely tale is evidently that of a human soul purified
by passions and misfortunes, and thus prepared for the enjoyment of true and pure
happiness.
No. 153. Cupid and Psyche.
Psyche is wounded by the dart of Cupid, and dreams a dream of terror :
“Soon the latent wound
The fading roses of her eheek confess,
Her eyes’ bright beams, in swimming sorrows drowned,
Sparkle no more with life and happiness.”
She reveals her dream, the Oracle is consulted, and declares ;
“ On nuptial couch, in nuptial vest arrayed.
On a tall rock’s high summit Psyche place ;
Let all depart and leave the fated maid
Who never must a mortal Hymen grace.”
Zephyr, in compassion, raises her with his breath, and conveys her to a flowery
bank.
62
No. 154. Cupid and Psyche,
Waking from sleep. Psyche finds herself in a grove in the island of Pleasure,
whence she beholds the Palace of Love. There Cupid pays to her his secret and
unseen visits.
No. 155. Cupid and Psyche.
Cupid censures Psyche for her mistrust, escapes, and her happiness is gone.
No. 156. Cupid and Psyche.
Psyche, in her wanderings, arrives at the temple of Juno, and implores the aid of
that goddess, who, out of deference to Venus, refuses to assist her.
No. 157« Cupid and Psyche.
She falls into the power of Venus, who treats her with scorn, and imposes on her,
as her slave, the most arduous tasks.
No. 158, Cupid and Psyche.
Venus bids her bring, in a crystal urn, liquid dew from a distant fountain, which,
rising in a lofty hill, waters the Stygian marshes, and fills the streams of Cocytus.
No. 159. Cupid and Psyche.
Psyche wanders on the borders of the Styx, and despairs of accomplishing this
fearful task ; but an eagle presently appears, seizes the urn, and brings it back full
of pure water from the terrible fountain.
Psyche, after vainly endeavouring to throw herself into a river, would have
perished under the weight of her sufferings, had not Cupid, who still loved her in
secret, invisibly comforted and assisted her in her toils.. She finally overcomes
the jealousy and hatred of Venus, becomes immortal, and is for ever united to Cupid
or divine love.
No. 160, Prometheus.
Vulcan (addressing Strength and Force.)
“ stern powers, your harsh commands have here an end
Nor find resistance. My less hardy mind,
Averse to violence, shrinks back, and dreads
To bind a kindred God to this wild clitf,
Expos’d to every storm : but strong constraint
Compels me ; I must steel my soul and dare.” — jEschylus.
No, 161, Atossa’s Dream.
“ Methought two women stood before my eyes
Gorgeously vested, one in Persian robes
Adorn’d, the other in the Doric garb.
The one,
Exulting in her rich array, with pride
Arching her stately neck, obey’d the reins;
The other with indignant fury spurn’d
'i he car, and dash’d it piecemeal, rent the reins,
And tore the yoke asunder : down my son
Fell from the seat, and instant at his side
Ilis father stands, Darius, at his fall
Impress’d with pity.” — ^schylm, I’ersce.
G3
162 . The Ghost of Darius.
v“ Say, then, with what new ill doth Persia groan ? "—.-Eschylas, Pentx.
No. 163 , Medea.
The scene which paints the struggle in Medea’s breast, between her plans of revenge
and her love for her children, one of the most touching and impresssivc ever repre-
sented on the stage. — S>qq Euripides.^ Medea.
No. 164 . Birth of Shakspeare.
No. 165 . Infant Shakspeare.
No. 166 . Death of Cordelia.
No. 167 . Descent of Odin.
Odin, terrified by a prophecy that sudden death menaces the comelicst of his race,
mounts his steed, Sleipner, and descends to Hel, to consult the Vala there in her
tomb. See Howitt.
Three of these Cartoons, Nos. 159, 164, and 165, were selected as the illustrations
of this Master in the Manchester Exhibition of the Art Treasures of the United
Kingdom.
6*4
Tlie following works of Living Artists are presented by the Liver-
pool Academy ; and, with the specimen of his skill required from every
member on the delivery of his Diploma, will furnish a complete series of
the works of every Artist of any eminence connected with Liverpool.
RICHARD ANSDELL.
No. 108. Stag at Bay.
Size — 7 feet bigh, 12 feet wide.
JOHN PHILLIP.
No. 169, The Barefooted Friar.
Size — 3 feet high, 2 feet 4 wide.
W. E. DEIGHTON.
No. 170. Stormy Day.
Size — 2 feet high, 3 feet 4 wide.
E. W. COOKE.
No. 171, Breaming a Calais Lugger at Low Water.
Size — 1 foot 6 high, 2 feet wide.
ALEXANDER JOHNSTON.
No. 172. Fil'st Thought of Love.
Size — 2 feet high, 1 foot 7 wide.
HENRY DAWSON.
No. 173. “ Pont Vane,” near Chirk, Denbighshire.
Size — 2 feet 6 high, 2 feet wide.
H. LE JEUNE.
No. 174 . Cherubim.
Size — 1 foot high, 10 inches wide.
JAMES BUCHANAN.
No. 175. Scriptural Consolation
Size — 11 inches high, 1 foot 1 wide.
E. J. COBBETT.
No. 176 . A Sketch.
Size —1 foot 4 high, 1 foot 8 wide.
CHARLES BARBER.
No. 177. Landscape.
Size — 2 feet 10 high, 3 feet 11 wide.
PHILIP WESTCOTT.
No. 178.
IN THE COMMITTEE ROOM.
rOETEAITH, BY JOHN LONSDALE,
OF
WILLIAM LOSCOE, ESQ.,
AND
THOMAS STEWART TRAILL, ESQ., M.D.
BY
J. GEDDES— EOME, 1830,
OF
JOHN GIBSON, ESQ.
BY
0. HENDERSON,
OF
WILLIAM SHEPHERD, LL.D.
AND BY
PHILIP WESl’COTT,
OF
JOSEPH BROOKS YATES, ESQ.
- AND
A valuable and interesting Collection of original Drawings, by the ancient
Italian and German Masters (Albebt Dukeb, and others), which may be seen by
application to the Curator.
66
CATALOGUE
OF
CASTS IN THE SALOON.
This Collection of Casts is formed principally from the
^GINA, ELGIN, AND PHIGALEIAN AIARBLES.
The Casts from the Elgin Marbles were presented to the Liverpool Eoyal
Institution by his Majesty George TV. The originals form part of the Col-
lection made in Greece by the Earl of Elgin, in the years 1800, 1801, and 1802,
purchased by Parliament in the year 1816, and now deposited in the British
Museum, and consist of specimens which adorned the Parthenon at Athens.
The Casts from the .^Egina and Phigaleian Marbles were presented by
J. Foster, Esq.
The original Marbles of the former of these Collections were iscovered in
the year 1811, by Messrs. Cockerell, Foster, Haller, and Liuckh, at the
Temple of Jupiter Panhellenius, in the Island of ^gina, in the Saronic
Gulf ; and, although every endeavour was made by Messrs. Cockerell and
Foster to obtain them for this country (see the proceedings of the Committee of
the House of Commons on the subject of the purchase of the Elgin Marbles'), they
were ultimately purchased by the Prince Poyal of Bavaria, and are now in
the Gallery at Munich.
The discovery of the originals of the latter Collection was made by the
same party in the year 1812, at the Temple of Apollo Epiccrius, situate on
Mount Cottlius, near Phigaleia, in Arcadia, and were fortunately pur-
chased by the Government of this country, and now form a part of the Collec-
tion in the British Museum.
The numerical arrangement of the Casts is made with the intention of show-
ing the progress of the Art of Sculpture from the early to the more refined
periods.
G7
PEDIMENT, No. I.
Contains such of the Statues of the JEgina Collection as were situated on
the west pediment of the Temple, and are placed precisely in the same manner
they originally stood in the tympanum there : this was fully ascertained by
the height being found from admeasurement to admit the centre figure of
Minerva, and the remaining figures to correspond with the angles of the
tympanum under which they were discovered.
PEDIMENT, No. II.
Contains five of the Figures which adorned the tympanum of the east pedi-
ment, and were all that were discovered belonging to that part of the temple ;
although there is no doubt but that the east pediment was as fully, if not
more, occupied with sculpture than the west ; and judging from the specimens
remaining, was evidently of a higher degree of merit.
Much has been said on the subject of these statutes, but nothing definite
has yet been established. — (See Mr. Cockerell on the M^gina Marbles, in the
\2th and IMh Nos. of the Journal of Science and Art') They are, however,
valuable on account of their date, being the only complete example of the
School of ^gina, whose early progress in art is much spoken of by Pliny,
Pausanias, «&c., and the productions of which were distributed throughout
Greece, and paved the way for the success and fame of the Arts in the time
of Pericles.
The Engravings from Mr. Cockerell's “ Additional Remarks," in the above-
named journal, show the situation of these sculptures in the temple at JEgina.
PEDESTAL, No. III.
Contains the Casts, from the Elgin Collection, of the principal Figures which
adorned the tympana of the east and west pediments of the Parthenon or
Temple of Minerva at Athens, and were thrown down by the bursting of a
bomb at the siege of Athens, by the Venetians, in the year 1687. “ Fortu-
nately, before this disastrous event a French artist, named Carey, had visited
Athens, and copied all the sculpture then remaining, in 1674. His drawings
are preserved in Paris, and are the only records of the portions that perished
afterwards.” — G. S.
Figures, Nos. 1 & 2.
A Group meant to represent the Car of Hyperion, the God of Day, rising
from the Sea, which was placed at one of the extreme angles of the east pedi-
ment. The heads of the Horses are full of animation, and display the great
anatomical skill of the Artist.
Figure, No. 3.
A Statue intended to personify the Kiver Ilissus which runs under the
llymettus, on the south side of the plain of Athens. It was situated in the
G8
imst pediment of tlie Parthenon. In point of merit it ranks quite as liigli as
the Theseus ; and the front of this Statue, like the back of the Theseus, is
considered a masterpiece of anatomical skill. — (See the Evidence before the
Committee of the House of Commons.)
Ilissus. — “ This is the popular designation ; but recent and more careful
investigation decides this statue to represent the Cephissus, another river
which watered the ancient city. The general subject of the eastern pediment
was the birth of Minerva. The scene therefore represented Olympus, or
heaven, and was bounded at each end by Day and Night, (see Nos. 1, 2, and 8).
The western pediment represented the contest between Minerva and Neptune
concerning possession of the country — Pausanias, Book i. ch. 24 ; — The scene
therefore represents the country of Attica, bounded by the rivers which
actually border the district — namely, the Cephissus on the one side, and the
Ilissus (to whicli is united a celebrated tributary stream, the Callirhoe, and
here personified as a delicate female) on the other. — See a Learned Essay hy
Watkiss Lloyd.! in the Classical Museum, Part xviii. ; and a Lecture delivered
hy Mr. Ch. Newton, at the Collegiate Institution^ Liverpool, April 16, 1851.”
—G. S.
PiGURE, No. 4.
A Croup, supposed to represent Ceres and Proserpine, was situated in the
east pediment of the temple. As in the group of the Pates, the skill shown
in the arrangement of the drapery is very great.
PiGURE, No. 5.
Is the back of the Torso of Neptune, which stood nearly in the centre of
the west pediment, and displays equal knowledge of anatomy with the other
naked figures. — “ See Haydons Lectures, vol. i. p. 179.” — O. S.
Figure, No. 6.
This group was placed at the corresponding position of the east pediment
to that of Ceres and Proserpine, and is supposed to represent the Pates. The
entire group consists of three Figures, one of which is wanting to this collec-
tion. The folds of the drapery, though numerous and minute, are beauti-
fully detailed.
Figure, No. 7.
Is the cast of the Figure of Theseus, and belonging to the east pediment of
the temple. For the merits of this celebrated statue, see the evidences of Sir
T. Lawrence, B. West, Chantrey, Westmacott, and others, before the Committee
of the House of Commons, on the subject of the Elgin Marbles. The back of this
figure is considered wonderfully grand, and not surpassed by any specimen of
sculpture now extant.
69
Figure, No. 8.
A fine specimen supposed to belong to the Car of Night, and was situated
at the opposite angle to the group of Hyperion, in the east pediment, and by
all connoisseurs and artists is considered a matchless work of Art.
PEDESTAL, No. IV.
This beautiful figure of Cupid did not belong to the Parthenon, although it
was discovered by Lord Elgin on the Acropolis of Athens, nor is it yet known
to what situation or building it originally did belong. “Better known as
Icarus.” — G. S.
METOPES. No. V.
The nearest end and the left hand side of the wall contain casts from the
Elgin Collection of several of the Metopes (the division between the triglyphs
in the exterior frieze of the temple), and represent groups from the combat
between the Lapithse and Centaurs at the marriage of Pirithous.
BAS-EELIEFS, No. VI.
The centre range, which continues nearly round the room, consists of casts
from the same collection, of the Pnnathenaic Procession^ or procession of all
the Athenians, which took place in honour of Minerva every fifth year at
Athens. The frieze, of which this is only part, extended round the whole
temple, and formed an uninterrupted range at the same height as that of the
Pronaos. “ The sitting figures are the presiding divinities ; those standing
between them are the priest and priestess receiving the sacred offerings, espe-
cially the peplos, or veil, which was the principal object of the procession.
The other figures consist of heralds, old men, virgins, and cavalcade.” — G. S.
BAS-RELIEFS, Nos, VII. & VIII.
Arranged above and below the Panathenaic Procession, consist of the casts
of the Phigaleian frieze, which occupied the whole of the frieze round the four
sides of the interior of the walls of the cella of the Temple of Apollo Epicu-
Rius, ON Mount Cotylius, near Phigaleia, in Arcadia. They were suj?-
ported by semi-ionic columns, projecting from the walls, and were about
twenty-three feet from the floor ; and what adds materially to their value is,
the whole subject being preserved, and the knowledge of the precise time
when it was executed.
Pausanias, who speaks of this temple as one of the most beautiful in Greece,
says, that it was built by Ictinus, the same architect who erected the Par-
thenon at Athens. It must, therefore, have been erected in the time of
Pericles, consequently when the arts in Greece were at the highest perfec-
tion. The whole frieze represents two subjects : the battle between the
Centaurs and Lapithse, and the contest between the Greeks and Amazons.
70
The first subject is comprised in the slabs above the procession, and the
latter is comprised in those under it.
The story of the Centaurs is too well known to require any particular ac-
count of their origin : it is only therefore necessary briefiy to add, that the
Centaurs were invited to tlie nuptials of Pirithous, King of the Lapithse, and
that during the marriage feast, Eurythion, the chief of the Centaurs, becoming
intoxicated, offered violence to the person of the bride Hippodamia. This act
was resented by Theseus, the friend of Pirithous, who threw a vessel of wine
at the offending Centaur, and brought him lifeless to the ground. A general
engagement then ensued, and which is the subject of the first part of the
frieze.
The Amazons were a warlike race of females, originally inhabitants of Sar-
matia ; afterwards spread themselves over Asia, and finally settled and built
many cities in Greece. — (Yide Strabo, Dio. Sicul., Pans., ^c. SfC.) The battles
of the Amazons were favourite subjects wdth the Greeks ; and, like those of
the Centaurs, were very frequently represented by them in sculpture. The
subject chosen for the second part of this frieze is the battle between the
Amazons and Athenians, as may be inferred from a variety cf circumstances,
particularly the similarity in the form of the shields and the costume of the
male warriors to those of the Parthenon. The Amazons were famous for their
skill in managing horses, and are here sometimes represented fighting on
horseback.
BAS-EELTEFS, No IX.
At the nearest end of the Saloon are four bas-reliefs of that subject, said to
be from the tomb of Theseus.
PEDESTAL, No. X.
Gladiator.
PEDESTAL, No. XI.
Apollo di Belvedere.
“ The original statue is now at Eome, and was found among the ruins of
Antium.” — G. S.
PEDESTAL, No. XII.
Diana.
“ The original statue is now at Paris, and known as La Diane a la Biche.” —
G. S.
PEDESTAL, No. XIII.
Venus de Medicis.
“ The original statue is at Florence, and is supposed to be a copy ot the
famous statue by Praxiteles at Cnidos.”— 6^. S.
71
PEDESTAL, No. XIV.
The Laocoon.
“ The original of this group was discovered near the ruins of the Baths of
Titus in 1506, and is still in Rome. Pliny, in his Natural History, B. xxxvi.,
describes it as existing in the palace of Titus, the joint production of three
Rhodian sculptors, and a work of surpassing excellence.” — G. S,
PEDESTAL, No. XV.
A Cast from the head of one of the Bronze Horses, now at St. Mark’s
Church, at Venice.
PEDESTAL, No. XVI.
A Cast from an ancient Etruscan bas-relief, in the possession of the late
Charles Blundell, Esq., of Ince.
PEDESTAL, No. XVII.
A Mask from the Olympian Jupiter.
PEDESTAL, No. XVIII.
A model of the Parthenon at Athens.
PEDESTAL, No. XIX.
An engraving of the Laocoon, by Agostino Veneziano, showing the state of
that group when it was discovered, and previous to its having been restored.
“ The great Michel Angelo and Sangallo were both present at its first dis-
covery ; and the fact is recorded on the tomb of the landowner, Felice do’ Fredis,
in the Aracoeli church, at Rome.” — O. S.
Various Casts, intended for the use of the Students.
r
I
CONTRIBUTORS
TO
THE GALLERY OF ART.
£ s. d*
Ashton, Henry ... .... . . 10 0 0
Allison, Richard 1000
Academy, The Liverpool .10100
Banner, Harmood 1000
Bent, John 1000
Bean, Thomas 500
Biillin, Christopher 1000
Bright, Samuel 20 0 0
Baines, Thomas 500
Baird, Dr. (the late) 500
Barber, Charles 1000
Booth, Charles ........... 10 0 0
Booth, Thomas . . 10 0 0
Bolton, Thomas 10 0 0
Brown, William 1000
Banning, William • . . . . 1000
Bickersteth, R, . . . . 10 0 0
Blundell, Rev. William 1000
Cresswell, The Hon. Mr. Justice 5 0 0
Case, John A 5 0 0
Crooke, George William 500
Cunningham, John 500
Colquitt, Miss E 5 0 0
Derby, The Right Hon. the Earl of 50 0 0
Ewart, Joseph Christopher 1000
Fletcher John 5 0 0
Green, George 1000
Heywood, John Pemberton 100 0 0
Holt, George .2500
Haywood, Francis 1000
Hewitt, Samuel ...........500
Hornby, Joseph 1000
73
£ s. (1.
Hodgson, Joseph 5 5 0
Iliff, Rev. Dr 5 0 0
J ones, Hugh (the late) 1 00 0 0
Jack, J. C. 10 0 0
Jones, Benjamin H. 10 0 0
Jones, Richard H 10 0 0
Jones, Christopher Hey wood . . . . . . . . 5 0 0
Kearsley, Samuel 500
Kaye, Thomas 5 0 0
Literary and Philosoi)hical Society 50 0 0
Lawrence, Henry 500
Lawson, William (the late) 5 0 0
Lowndes, Matthew D 10 0 0
Melly AndrcAv . . . . . . . . . . . 1000
Marriott, John . . . . . . . . . . . 10 0 0
Miller, John 2500
Moore, John, Paddington .......500
Mnllineux, James 500
Myers, 'Wiliam J 5 0 0
Parker, Charles S 5 0 0
Rathbone, William . , . . 1000
Rathbone, Theodore W 1000
Raffles, Rev. Dr. ........... 5 0 0
Robinson, George .......... 500
Romilly Henry 10 0 0
Reynolds, William, M.D. . . . . . . . . . 10 0 0
Rockliffe, Robert 5 0 0
Rogerson, Thomas .......... 500
Rathbone, Richard . 10 0 0
Sandbach, Samuel 10 0 0
Sandbach, Henry R, . . . . . . . . . .10 0 0
Stanley, Right Hon. Lord, M.P. 20 0 0
Salisbury, Sir John S. P. 500
Sandon, Right Hon. Lord, M.P. 5 0 0
Semple, Robert 1000
Smith, Thomas, Manchester . . . . . . . . 10 0 0
Tayleur, Charles 1000
Thom, Rev. J. H. . . . 5 0 0
Turner, Samuel • • • .10100
Turner, J. H 5 0 0
Thompson, Samuel H 26 5 0
Tyrer, James 1000
Todd, Thomas 10 0 0
Tinne, John A 10 0 0
Thornley, Thomas, M.P. 20 0 0
Walmsley, Sir Joshua . . . . . . • • • 2500
Winstanley, Thomas 1000
Winstanley, Samuel T 5 0 0
Winstanle}’-, Henry X 500
74
i s, cl.
Wilbraham, Hon. R. B., M.P 5 0 0
Wybergb^ J , . 5 0 0
Watson, William 1000
Walker, J. N. . . . . . . . . . . . 20 0 0
Woolrigbt, John 500
Yates, Rickard V. 100 0 0
Yates, Josejik B. .50 0 0
Yates, tke Misses 2100
DONORS OF PICTURES AND WORKS OF ART.
His Majesty George IV. — Casts from the Elgin Marbles.
Purchasers of the Eoscoe Collection. — Thirty-Seven Pictures.
Purchasers of the Four Large Pictures by Calabrese. — Nos. 1 1 .3
to 116.
Subscribers to Chantrey’s Statue of Eoscoe.
John Foster. — Casts of the ^gina and Phigaleian Marbles.
Mrs. Jones, Lark-hill. — No. 123.
John Pemberton Heywood. — No. 119.
Thomas Winstanley. — Nos. 1 to 3, 57, and 125.
Joseph B. Yates. — Nos. 58 and 117.
8. H. Thompson. — No. 8.
William Rathbone. — Nos. 37, 38.
Eichard Eathbone. — Nos. 39, 44, 132, 140, 147.
Theodore W. Rathbone. — Nos. 78, 79.
W. S. Eoscoe. — No. 148.
John Miller. — No. 95.
Mat. D. Lowndes. — No, 110.
Thomas Hargreaves. — No. 129.
William Lassell. — No. 135.
William Lowndes. — No. 107.
Thomas Barber. — No. 124.
John Eomney. — Nos. 150 to 167.
John Gibson.— His own Cartoon of St. Michael and the Fallen
Angels.
J. W. Gibsone. — No. 111.
Joseph Mayer. — Nos. 4 and 5.
J. N. Holmes.— N os, 142 and 143.
James Boardman. — Wedgwood Facsimile of the Portland Vase.
Executors of the late A. Littledale. — Casts of the Apollo, Venus,
Gladiator, and Diana.
Literary and Philosophical Society of Liverpool. — C ast of ihe
Laocoon.
C. B. Eobinson — Several Busts and Ca.sts, suitable for study.
Liverpool Academy. — Nos. 168. to 178.
UF.OIifiE M ('ORQUODAT.E .\NT) CO,, I'iil.VTKUS, MVERP(W>L.