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DESCRIPTIVE NOTICE 
 
 OF THE 
 
 WORKS OF THE ARUNDEL SOCIETY. 
 
§u&Mqd undf the sanction of thq (ffounqit of Ity J.rundql ^oriqti). 
 
 DESCRIPTIVE NOTICE 
 
 OF THE 
 
 DRAWINGS AND PUBLICATIONS 
 
 OF 
 
 FROM 1849 TO 1868 INCLUSIVE ; 
 
 ILLUSTRATED BY PHOTOGRAPHS OF ALL THE PUBLICATIONS, ARRANGED IN THE ORDER 
 
 OF THEIR ISSUE. 
 
 BY 
 
 FREDERIC W. M A Y N A R D. 
 
 SECRETARY TO THE ARUNDEL SOCIETY. 
 
 “ The study of nature, corrected by the ideal of the antique, and animated by the spirit of Christianity, personal and social, can alone lead to 
 excellence in art; each of the three elements of human nature—matter, mind, and spirit—being thus brought into union and co-operation in the 
 service of God, in due relative harmony and subordination.”— Lord Lindsay’s History of Christian Art, vol. ii. p. 101. 
 
 LONDON: 
 
 ^riiitch anh IPubltsIjrlr for tf)r Sutfior bp 
 
 NICHOLS AND SONS, 25, PARLIAMENT STREET, WESTMINSTER, 
 
 AND SOLD AT THE ARUNDEL ROOMS, 24, OLD BOND STREET, W. 
 
 1869. 
 
Digitized by the Internet Archive 
 in 2020 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/descriptivenoticOOmayn_O 
 
PREFACE. 
 
 The writer of the present Notice presents it to the Members of the Arundel Society 
 in the hope that it may be acceptable as rendering the series of publications produced by 
 the Society, and its collection of drawings, useful to those who have not devoted much 
 time to the examination of published books on Early Art. 
 
 The design of this work is to give a full and complete catalogue, with descriptions, of 
 the publications, arranged in the order of their issue, as well as notices of the Society’s 
 collection of drawings, and biographical memoirs of the artists whose works have been 
 illustrated; combining information in a condensed form which could only be otherwise 
 obtained by reference to various books either not readily accessible or troublesome to 
 refer to. 
 
 The work is published under the sanction and with the approval of the Council ; but 
 the Author alone is responsible for the facts and opinions stated in it. For the particulars 
 relating to the publications of the first seven years the Writer is indebted for some ot his 
 material to a “ Description ” which was published in 1855, explaining an Exhibition ot 
 the Society’s Works which took place during that year in the Crystal Palace at Sydenham. 
 The remaining portion has been collected from the best sources attainable, and is also 
 the result of a careful study of those works which are necessarily daily before the eyes ot 
 the Writer in the performance of his duties. 
 
 E. W. M. 
 
 January , 1869. 
 

 Armuitl 
 
 OR, 
 
 SOCIETY FOR PROMOTING THE KNOWLEDGE OF ART. 
 
 INTRODUCTORY NOTICE. 
 
 E,T has in all ages and countries had an intimate relation with religion; its nature has 
 been influenced by the faith of its professors and patrons. In ancient Greece and Home 
 the grandest human types were used to exalt the mind to a contemplation of the 
 supernatural, and even common objects of daily use were designed with a beauty of 
 their own for this purpose. The religious feeling of the people prompted the worship of the 
 unseen in the beauty of external form of everything that surrounded them. As the power of the 
 old religion lessened on the minds of its believers, added to the diminished prosperity of the 
 Homan empire, pagan art gradually perished, and with the introduction of Christianity it died,— 
 hut only that it might rise again from its ashes in a more beautiful and spiritual form. The 
 Christian religion caused for the time a revulsion of feeling and a repudiation of art. Appealing 
 to the inner life of man, it required no outward form to assist in its worship ; and among its early 
 followers there was a horror and aversion to pagan art, connected as it was with idolatry. 
 Paganism invested its gods with every beauty of external form: on the other hand, the Christian 
 Church looked upon the Saviour as the type of all suffering and sorrow, and not attractive by 
 form or comeliness. As the Church was gradually relieved from persecution and became the 
 ruling power, the connection between Art and Heathenism was severed; but, believing that they 
 were forbidden by their faith directly to represent sacred objects, the early Christians obeyed their 
 growing instincts for art by symbolical representations having reference to the new doctrines. As 
 the power of Christianity advanced, historical representations took the place of the symbolical, 
 even to representing Christ himself and the events of his life. The period of the Byzantine 
 empire marks the transition from pagan to Christian art; and, when the Gothic spirit was 
 attaining its influence by the development of a new style of architecture, Christian art started into 
 life fresh and original in its character. 
 
 * A short designation being desirable for the Society, the name of an enlightened amateur—Thomas Howard, Earl of 
 Arundel—was selected for this purpose. Lord Arundel has been called “the father of vertu in England,’’-and “ the Msecenas 
 of all politer arts.” “ I cannot,” says Peacham in his “ Oompleat Gentleman,” first printed in 1634, “ but with much reverence 
 mention the everyway Right Honourable Thomas Howard, Lord High Marshall of England, as great for his noble patronage of 
 arts and ancient learning as for his high birth and place; to whose liberal charges and magnificence this angle of the world 
 oweth the first sight of Greek and Roman statues, with whose admired presence he began to honour the gardens and galleries of 
 Arundel House about twenty years ago, and hath ever since continued to transplant old Greece into England." 
 
 It appears that the person chiefly employed by the Earl in these researches was his chaplain, Mr. William Petty, M.A. the 
 uncle of the famous Sir William Petty, and ancestor of the Marquis of Lansdowne .—See Dallaway's Walpole , vol. ii. p. 146. 
 
 B 
 
2 
 
 Descriptive Notice of the 
 
 Architecture and sculpture may be described as the parents of painting. The edifice being 
 erected, materials for sculptured decoration were ready to hand: but not so for representations on a 
 flat surface; for the manufacture of colours, and the means of using them, had yet to be re-dis¬ 
 covered. Until this knowledge was obtained, the process of working in mosaic (well understood in 
 past ages) held the place of painting, and the remains of this early art may still be seen at Havenna, 
 Home, Milan, and Murano, and on the domes of St. Mark’s. This process was continued till the 
 thirteenth century, and degenerated into a mere handicraft. It hampered the efforts of those who 
 had genius for design, and art, as represented by mosaic, was sinking into the mere outward form, 
 without life or expression, notwithstanding the spirit infused into it by such men as Mino da Tureta, 
 Tafi, Gaddo-Gaddi, and even Giotto himself. The process was costly, and occupied much time; and, 
 when the more ready and cheaper material of fresco came to be discovered, the general use of mosaic 
 was abandoned. “ The art of Europe, between the fifth and thirteenth centuries, divides itself essen¬ 
 tially into two great branches, one springing from, the other grafted on, the old Homan stock. The 
 first is the Homan art itself, prolonged in a languid and degraded condition, and becoming at last a 
 mere formal system, centred at the seat of Eastern empire, and thence called Byzantine. The other 
 is the barbarous and incipient art of the Gothic nations, more or less coloured by Homan or Byzan¬ 
 tine influence, but gradually increasing in life and power. Gothic blood was burning in the Italian 
 veins; and the Elorentines and Pisans could not rest content in Eastern formalism.” * 
 
 In the thirteenth century a revival of the arts took place in Italy, and there arose that long 
 line of illustrious painters, who, beginning with Cimabue and Giotto, and ending with Haphael and 
 his contemporaries, raised art to the highest excellence it has ever attained. Heligion united with 
 wealth created the emulation to produce those works which to the present day are the admiration 
 of mankind, and standards whereby the present and future ages may derive and cultivate a pure 
 and refined taste, and a sound knowledge of the principles and practice of art. The objects kept 
 in view by the early masters were the help to devotion and the religious teaching of men in 
 general, and not to gratify the taste of individuals; for, almost without exception, the subjects 
 painted illustrated Scripture history, sacred legends, or allegories inculcating the blessings of 
 virtue and faith. The history of fresco is the true history of painting in its highest and most 
 spiritual development from the thirteenth to nearly the middle of the sixteenth century. It 
 became, therefore, a noble object to collect diligently and with discrimination the best examples of 
 art, and to bring them before hundreds of minds which would never otherwise be touched by such 
 guiding and elevating influences, and to show how the arts aided each other for the instruction as 
 well as the delight of men. The materials for such a work were abundant, but scattered, little 
 accessible, and in some instances passing away. Where beauty is that of conception rather than 
 of execution, such reproductions would present too little of popular attractiveness to be undertaken 
 by the ordinary mode of publication, yet nothing could be produced of greater use, whether as 
 illustrative of the history of painting, or as models of its spirit and guides to its ends. 
 
 Peculiar facilities for the promotion of knowledge have been obtained in modern times from 
 the institution of Societies devoted severally to the cultivation of distinct provinces of literature or 
 science. By mutual assistance, and from common resources, operations of various kinds have been 
 prosecuted, too extensive or too costly for isolated efforts. Publications which, if produced by 
 individuals from the ordinary motives of literary speculation, would have been liable to the 
 sacrifice either of completeness in their treatment or independence in their tone (from a necessary 
 regard to cheapness or to popularity), have, when put forth hy Associations interested only in the 
 advancement of truth, assumed a form and character at once more dignified and more useful, 
 determined simply by the requirements of their respective subjects. Economy itself, without 
 hampering the efforts of such Associations, has in many instances resulted from their constitution, 
 
 * “ Giotto and liis Works in Padua,” by John Ruskin. 
 
Publications of the Arundel Society. 
 
 3 
 
 which has enabled them to secure from their own members gratuitous aid, and, by greater 
 subdivision of labour and action on a larger scale, to avoid waste of resources, energy, and time. 
 To such causes we are indebted for the communication to the public of many rare or hitherto 
 unedited documents through the agency of the Camden and Hakluyt Societies; for the original 
 memoirs and treatises of the Astronomical, Li n m ean, and other similar bodies; and for publications 
 in both departments, which record the researches and attainments of the Society of Antiquaries 
 and of the Boval Society of Literature. 
 
 The machinery, however, which proved so effective in the cultivation of Literature, Science, 
 and Archaeology, had, previous to the foundation of the Arundel Society, been employed only to a 
 limited extent in promoting the knowledge of Art. The productions, indeed, of ancient Greece and 
 her colonies, their edifices and their sculpture, had been illustrated by the labours of the Dilettante 
 Society, and much light thrown upon mediseval architecture through means of the institutions 
 devoted exclusively to its elucidation. But no such body had attempted the systematic study of 
 the monuments of painting nor of the arts in which the middle ages were so eminently successful, 
 nor had undertaken the investigation of the theoretic principles common to all branches of art, by 
 which its efforts should ever be guided, and its achievements judged. 
 
 In the year 1848 these considerations suggested the formation of the Arundel Society to 
 supply the deficiency. The object of its founders (amongst whom were the Marquis of 
 Lansdowne, Lord Lindsay, Lord Herbert of Lea, Mr. G. Aubrey Bezzi, Mr. A. H. Layard, Mr. 
 Samuel Bogers, and Mr. John Buskin) was the preservation of the record, and the diffusion of 
 the knowledge, of the most important monuments of Painting and Sculpture remaining from past 
 times, especially of such as were either from their locality difficult of general access, or from any 
 peculiar causes threatened by violence or decay. The primary subject selected for illustration was 
 Italian Presco Painting; a minor attention was thought due to the more familiar productions of 
 Painting in Oil; whilst Sculpture, both classical and mediaeval, whether in monumental marble or 
 more portable ivory, was to be treated under a separate system of publication. By adopting, 
 according to circumstances, different processes invented or perfected by the scientific and 
 mechanical genius of the age, more adequate expressions both of form and colour might now, it 
 was believed, be obtained than was possible with the limited means in use at any former period. 
 The association of a large number of Subscribers would enable the Society to produce cheaply, and 
 thence to circulate widely, what previously had been the costly luxury of a few; whilst the 
 independent position of its governing body would induce less regard to the popularity, and more 
 to the artistic value, of its productions than could fairly be expected from ordinary publishers. It 
 was at the same time hoped that greater familiarity with the purer and severer styles of earlier 
 Art would tend to divert the public taste from works that were meretricious or puerile, and so 
 indirectly elevate the tone of our National Schools of Painting and Sculpture. 
 
 In pursuance of this design the Society, during the last twenty years, has issued to its 
 Members, principally in return for the yearly subscription of One Guinea, chromo-lithogiaphs, 
 engravings, and literary illustrations of the most important frescoes in Italy, as comprising the 
 master-pieces of the greatest and most illustrious Italian painters, who, from Giotto to Baphael, 
 lavished all their genius and thought upon mural decoration, as best calculated to display their 
 powers and impress the beholder. Vasari speaks of fresco as “more masteily, noble, manly, 
 secure, resolute, and durable than any other kind of paintingand records the saying ol MIclu 1 
 angelo, that fresco was fit for men—oil-painting only for women and the luxurious and idle. 
 
 * The term “fresco” is generally, though incorrectly, applied to all paintings on plastei oi lime fonnin 0 i 
 architectural whole, and adapted by their composition and treatment to the place in which tiny weie executed. T . ’ 
 
 however, the “ buon fresco ” of the Italians, is distinguished from tempera and other processes applied to mm a ' ’ 
 
 the artist having to paint upon damp lime newly laid on, and he was consequently obliged to covei a < a tain l 
 prepared for each day’s work. 
 
4 
 
 Descriptive Notice of the 
 
 Not neglecting other branches of art, the Society has lately commenced publishing illustrations 
 of the Flemish and German schools, as represented in the works of the brothers Van Eyck, Hans 
 Memling, Albert Eurer, Hans Holbein, &c. The works prepared for general sale have included 
 some reductions from the Elgin Marbles, and a series of about, one hundred and seventy fac-similes 
 in fictile ivory of ancient ivory carvings extending over a period from the second to the fifteenth 
 centuries. 
 
 During the first ten years of the Society’s existence only such original drawings were obtained 
 as were found necessary for immediate publication; but in 1859 the Council felt that a Society 
 founded with such objects as the Arundel ought not to hesitate in undertaking a service which 
 might soon no longer be in its power to render to the cause which it represented, but should 
 endeavour to secure, with or without prospect of immediate publication, copies of some few at 
 least of the little known works of the greatest masters in Italy and elsewhere which still survived, 
 but might perish or suffer injuries, which, though not beyond restoration , were certainly beyond 
 cure. They therefore opened a subscription for a special “ Copying Eund,” to which they invited 
 the contributions of all who sympathised with their views. Its purpose was to form a collection 
 of water-colour drawings, tracings, and photographs from frescoes and pictures of the fourteenth, 
 fifteenth, and sixteenth centuries, which had been either inadequately or not at all engraved; to 
 exhibit this collection as freely as the machinery and funds of the Society would admit; and to 
 publish as much of the collection as the annual income would bear. This appeal was liberally 
 responded to, and from the fund thus collected many valuable drawings were obtained, which 
 became the nucleus of the present large collection, now numbering, in addition to those already 
 re-produced and issued, more than one hundred subjects yet remaining to be published. A 
 description of nearly all of them is embodied in this Notice; but of those masters whose works 
 have not yet been illustrated by the publications of the Society copies of the following are 
 included in the collection. 
 
 Cimabue, Bujfalmacco, and Simone Memmi (1240-1344). Several Erescoes from the church 
 of St. Erancis at Assisi. 
 
 Giovanni Cimabue, of a noble family of that name, was born in 1240; he died in 1302. He 
 studied painting under some Greek artists who were in Florence decorating the chapel in Santa 
 Maria Novella. Cimabue hv his works became famous through all Italy. He had a school of 
 painting at Florence, and among His pupils was Giotto. — Bujfalmacco was a pupil of Andrea Tafi, 
 and is celebrated by Boccaccio as a man of most facetious character. The works of this painter 
 were highly praised and valued during his life, but unfortunately but few are preserved that can 
 with certainty be attributed to him. He died about 1340.— Simone Memmi, a pupil of Giotto, was 
 born in 1285, and died in 1344. He is celebrated by Petrarch in three sonnets for the portrait of 
 his Laura, which Simone painted in Avignon about 1336. 
 
 Biero della Francesca, of Borgo San Sepolcro (circa 1415-1500). Three Erescoes in the 
 church of San Francesco at Arezzo, portraying the Apocryphal History of the Cross. These 
 works show a complete mastery over painting in fresco, and display originality and vigour to so 
 remarkable a degree that it led Vasari to exclaim “ that these frescoes might be called too beautiful 
 and excellent for the time in which they were painted.” Piero was called Della Francesca from 
 the name of his mother, who was left a widow before he was born. He was a great student of 
 mathematics, and wrote several works on geometry and the laws of perspective. He executed 
 paintings at Ancona, Ferrara, Perugia, and in the Vatican at Home; but all have been destroyed, 
 the latter to give place to the paintings by Baphael. Giovanni Sanzio, the father of Baphael, is 
 said to have been a pupil of Piero della Francesca, and was certainly influenced by his works, as 
 were also Pietro Perugino and Luca Signorelli. 
 
 Fra Filippo Lippi (1412-14G9). One of the series of Frescoes in the choir of the Duomo at 
 Prato, from the history of St. Stephen. The originals are on a large scale, full of character, and 
 
5 
 
 Publications of the Arundel Society. 
 
 form the most important works executed by the master. Fra Filippo Lippi was a Carmelite friar 
 and said to be a pupil ol Masaccio. The story of his dissolute life appears to have been without 
 foundation, as at the age of forty he was chaplain to the convent of nuns of San Giovanni in 
 Florence, and five years later he was rector of the church of S. Quirico at Legnaia. It is not 
 likely he would have held these offices in the Church if there had been any truth in the 
 circumstances related by Vasari. 
 
 Sandro Botticelli (1447-1515). “The Venus Anadyomene,” from a picture in the gallery of 
 the Uffizi at Florence, representing Venus on a shell floating upon the waters, and driven by two 
 of the winds with a shower of roses towards the shore, where a female attendant is holding a 
 
 # O 
 
 mantle to receive her. Sandro Botticelli was one of the first who introduced mythological and 
 allegorical subjects into modern art.* * * § 
 
 Mariotto Albertinelli (1475-1520). “The Meeting of Mary and Elizabeth,” from a picture 
 in the gallery of the Uffizi at Florence. This is the most celebrated work of the master, both in 
 style and execution, and worthy of his friend and fellow-pupil Fra Bartolommeo. Albertinelli 
 studied painting under Cosimo Boselli. 
 
 Michelangelo Buonarotti (1474-1563). Four Drawings of the Prophets and Sibyls, from the 
 ceiling of the Sistine Chapel at Borne. + Michelangelo began his career as an artist in the school 
 of Domenico Ghirlandaio. 
 
 Albert Dnrer (1471-1528). Two Pictures representing the Four Apostles, John and Peter, 
 Mark and Paul, from the gallery at Munich. $ The figures in the originals are the size of life; 
 they were painted in 1526, and are esteemed as the most important of Albert Durer’s works. 
 
 Mans Holbein the younger (1498-1554). The Burgomaster Meyer’s votive Picture, repre¬ 
 senting the Virgin and Child, with the family of the Burgomaster Jacob Meyer of Basle kneeling 
 at her side. § This picture is in the possession of the Princess Charles of Hesse at Darmstadt; 
 and there is a repetition of the subject, until but very little variation, supposed to have been 
 painted by Holbein, and now in the gallery at Dresden. 
 
 In addition to the foregoing works the Society possesses a series of drawings, both coloured 
 and in outline, from some of the most important sepulchral monuments at Venice and Verona, 
 Although the great artistic importance of fresco painting and the dangers to which its productions 
 are exposed give it the first claim to attention, the scope of the Arundel Society comprehends all 
 the arts of design as practised in the best periods. As examples of the successful combination of 
 architecture, sculpture, and pictorial or other surface enrichment, the sepulchral monuments 
 erected in Italy during the Middle Ages are unrivalled in Europe. 
 
 The Copying Fund is supported by the entrance donations of new members, by voluntary 
 contributions, and from such other sources of profit as may he available from the annual income. 
 Every year additions are made to the collection of drawings, and they are freely exhibited to the 
 public at the rooms of the Society. 
 
 In 1866 a proposal was made to the Council by the authorities of the Department of Science 
 and Art at South Kensington that the Arundel Society should undertake the responsibility of the 
 commercial transactions relating to the sale of Art Examples produced by the Department, 
 principally in photography, the Society to receive a certain commission on all the sales effected, 
 
 * This subject will be published as an occasional or extra chromo-lithograph in the Spring of 1870. 
 
 f The Sibyls, according to the legends of the Middle Ages, stand next in dignity to the Prophets of the Old Testament. It 
 was their office to foretel the coming of the Saviour to the heathen, as it was that of the Prophets to announce him to the Jews. 
 The circumstances of their appearing in works of art as equal in rank with the Prophets may have arisen from the manner in 
 which St. Augustine speaks of the Erythraean Sibyl’s testimony, immediately before he adverts to that of the Prophets of the 
 Old Testament. [See Kugler’s Handbook of Painting.] 
 
 f These two subjects will, as chromo-lithographs, be included in the Second Annual Publications for 1870. 
 
 § This subject will, as a chromo-lithograph, be included in the Second Annual Publications for 1871. 
 
 C 
 
6 
 
 Descriptive Notice of the Publications of the Arundel Society. 
 
 but not to share any risk of the cost of producing the works. The desire to co-operate with an 
 Institution from, which the Society had received valuable support in former years induced the 
 Council to accede to the proposal, taking care, however, that any publications to appear in 
 connection with the Society’s name should be of a character not unsuited to the objects for which 
 it was founded. Specimens of all the photographs produced by the Science and Art Department 
 are exhibited in the rooms of the Society, and also sold there. These include copies of Drawings, 
 Paintings, and Sculpture, Decorative Art in Precious Metals, Enamels, Pottery, Porcelain, and 
 other examples of Art "Workmanship. 
 
 In consequence of the rapid increase in the number of the members of the Society, it became 
 necessary in 1863, and again in 1866, to revise the original Mules, it being found impossible to 
 supply the Annual Publications to all applicants without the risk of impairing their quality. It 
 was thought desirable, as a link of connection with that portion of the public which declined 
 actual membership, that, in printing for the annual issue, a part of the impression should be 
 reserved for general sale, under the head of a supernumerary class. To provide this reserve, and 
 yet to be always able to guarantee that all the copies published should be of the best execution, 
 without any deterioration in the quality of the chromo-lithographs, it became necessary to li mi t 
 the numbers on the original subscription list, and to form a “ second ” series of Annual Pub¬ 
 lications, differing in subject from, but not inferior in character or execution to, the “ first.” 
 
 The present organization of the Society and the conditions of membership are sufficiently 
 explained in the following summary of its rules :— 
 
 Constitution. —The Society is governed by a Council of from twelve to sixteen persons, who, 
 with the several Honorary Officers, are elected from among the Members at a General Meeting in 
 the Spring. 
 
 Membership and Admission. —Members are divided into the following four Classes:— 
 
 1. Associates. Who give on admission, as an Entrance Donation, not less than One Guinea 
 to the Copying fund, pay no annual subscriptions, but can purchase the Occasional and Super¬ 
 numerary Publications at a lower price than the public. 
 
 2. Second Subscribers (. Annual or Life). Limited to Fifteen Hundred. Associates are 
 admitted to fill any vacancies in this Class to which they are found entitled by priority, at the 
 annual revision of the lists, and are then liable for the payment of One Guinea annually on the 
 1st of January, or a composition of Eifteen Guineas for Life, in return for which a set of 
 Publications is given in the Autumn of every year. 
 
 3. First Subscribers (Annual or Life). Limited to Fifteen Hundred. Second Subscribers 
 and Associates are admitted pari passu to fill any vacancies in this Class to which they are found 
 entitled by priority at the annual revision of the lists, subject (in the case of Second Subscribers) 
 to the same payment as in their former Class, but they can at their choice, after the first year, 
 continue or relinquish the Second Subscription. A set of Publications is given to the Eirst 
 Subscribers in the Spring of every year. 
 
 4. Honorary Members. Limited to Fifteen. Election by a General Meeting alone admits to 
 this Class. 
 
 The Publications consist of Three Classes :— 
 
 1. Annual. Divided into two distinct series of subjects for Eirst and Second Subscribers. 
 
 2. Occasional. Published and sold separately, at lower prices to Members, and at higher to 
 the Public. 
 
 3. Supernumerary, or extra copies of the Annual Publications, sold like the Occasional. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
4 
 
 ANNUAL PUBLICATIONS. 
 First Year (1S49-50). 
 
 ANNUAL PUBLICATIONS. 
 Second Year (1S50-51). 
 
DESCRIPTIVE NOTICE 
 
 OF THE 
 
 PUBLICATIONS OF THE SOCIETY. 
 
 FIRST YEAR (1849-50). 
 
 ANNUAL PUBLICATIONS. 
 
 I. The Life of Fra Giovanni Angelico da Fiesole, translated from Vasari by Giovanni 
 Aubrey Bezzi; with Notes, and twenty-one Plates illustrative of the Painter’s Works.* 
 
 II. “ The Distribution of Alms by St. Lawrence a Copper-plate Engraving by Professor 
 L. Gruner, from a Drawing by Mr. Tunner after the fresco by Fra Angelico in the Chapel 
 of Nicholas V. in the Vatican. 
 
 Pea Angelico. Born at Fiesole, near Florence, 1387. Died at Pome, 1455. His real 
 name was Guido Petri da Mugello, but in 1407, upon entering the Convent at Fiesole, he took for 
 his monastic name Giovanni. He won the appellation of Angelico from the character of his life 
 and works, and after his death was called II Beato, the Blessed, f It is not clear whether he studied 
 art before or after entering monastic life. His first efforts are said to have been in miniature 
 illuminations, in which his brother Benedetto da Mugello, Prior of the Dominicans in Fiesole 
 (who died 1448), excelled. Fra Angelico executed a great number of small panel pictures, the 
 best of them now being in the Academy at Florence. His chief works, however, are in fresco, 
 and possess an altogether exceptional purity and sweetness. He was a man of the utmost 
 simplicity of intention, and most holy in every act of his life. It was his custom to abstain from 
 re-touching any painting once finished, leaving it as it was done the first time, believing, as he said, 
 that such was the will of God. It is also affirmed that he would never take the pencil in haud 
 until he had offered a prayer; and certainly the Saints that he painted have more the air and 
 expression of sanctity than those of any other master. He was so humble and so little desirous of 
 honour that -when Pope Nicholas V. wished to confer on him the Archbishopric of Florence, on 
 account of his holy life, he prayed the Pontiff to appoint another, as he did not feel himself called 
 to a situation of authority. The compositions with which he adorned the Convent of St. Mark at 
 Florence (1441-1446), in their expression of deep religious feeling, are perhaps the most beautiful 
 works of art existing. + Here are upwards of thirty frescoes, representing principally events in 
 the history of our Saviour, amongst them being the two great masterpieces of Fra Angelico, “ The 
 Crucifixion ” and “ The Adoration of the Magi.” The former is in the Chapter-room, and is a 
 
 * This work is now out of print and no longer supplied by the Society. 
 
 ■j - Beatification for eminent piety is a solemn distinction conferred by the Roman Church, second only to canonization. 
 
 | Five of these frescoes, the Annunciation, the Transfiguration, “ Christ and Mary Magdalene,” the Crucifixion, and the 
 Coronation of the Virgin, have been published in chromo-lithography. Copies of three others, including the Adoration of the 
 Magi, are among the collection of the water-colour drawings exhibited in the rooms of the Society. 
 
8 
 
 Descriptive Notice of the 
 
 painting 26 feet long. About the cross are viewed the Virgin, Mary Magdalene, and various 
 saints, the heads and founders of religious bodies. Around the composition, which is in a semi¬ 
 circle, is a border divided by medallions, in which the prophets appear holding banderols inscribed 
 with texts. On the lower part of the fresco are ten small circles, containing the portraits of 
 St. Dominic and the illustrious men of his order. 
 
 “ The Adoration of the Magi ” is in one of the cells larger than the others, used, it is said, by 
 Cosimo de Medici, the patron of Angelico and the benefactor of his convent. This fresco is full 
 of figures, many of them probably portraits of celebrities of the period, and they are remarkable 
 for their admirable grouping and animation of expression. In the train of the Magi are to be 
 seen persons in Hungarian, Polish, Servian, and Wallacliian costume. At the time the Turks 
 were threatening to overrun Europe, a deputation of the people inhabiting the Danubian countries 
 visited Elorence and Pome for the purpose of forming a league against the Turks, and it is 
 thought not improbable that Era Angelico may have seen this deputation, and included their 
 portraits in his fresco. It is certain that the figures must have been drawn from nature. 
 
 The frescoes in the Chapel of St. Lorenzo, in the Vatican Palace, executed by Era Angelico, 
 were commenced in 1447, by command of Pope Nicholas V., and must have immediately preceded 
 his employment in the Cathedral of Orvieto. Eleven large subjects range in two horizontal rows 
 around the walls of the Chapel, and represent the mission and martyrdom of the two deacons 
 St. Stephen and St. Lawrence. Above these historical subjects on the walls of the Chapel are 
 painted eight doctors of the Greek and Latin Churches, standing under Gothic canopies, holding 
 books. On the vaulted ceiling are the four Evangelists, seated, with their respective symbols. 
 Though ill preserved, these frescoes are inferior in importance to none of the artist’s works, except 
 those which he executed for his own Dominican Convent at Elorence. The heads, always refined, 
 are here full of expression, the draperies are graceful, and the composition sufficiently rich. 
 Vehement passion and rapid movement alone seem to be beyond his strength. These frescoes 
 were neglected and forgotten for nearly two hundred years, owing to the loss of the key of the 
 chapel. Attention was first drawn to them early in this century by a German, Herr Wolfez Hirt. 
 In the' Cathedral at Orvieto Era Angelico painted Christ as the Judge of the World, and on the 
 vaulting of the ceiling the prophets, one behind the other, in a pyramidal group. This work he 
 did not finish, but it was afterwards completed by Luca Signorelli. 
 
 SECOND YEAR (1850-51). 
 
 ANNUAL PUBLICATIONS. 
 
 Four Engravings in continuation of the series of Frescoes by Fra Angelico in the 
 Chapel of Nicholas V. in the Vatican, viz.— 
 
 1. “ St. Stephen pleading before the Council at Jerusalem ,” engraved by Herr Schaffer after 
 a Drawing by M. Kupelwieser. 
 
 2. “ St. Buonaventura ,” engraved by Professor L. Gruner after a Drawing by M. Tunner. 
 
 3. “ St. Matthew ,” engraved by Mr. Vernon after a Drawing by M. Kupelwieser. 
 
 4. “ St. Thomas ,” lithographed by Mr. G. Linnell after a Drawing by M. Tunner.* 
 
 * This lithograph is out of print and no longer sold by the Society. 
 
OCCASIONAL PUBLICATIONS (1851-52-53). 
 
t 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 *■ 
 
 
 
 
 
 
 
 
 
 
 
 
9 
 
 Publications oj the Arundel Society. 
 
 THIRD YEAR (1851-52). 
 
 ANNUAL PUBLICATIONS. 
 
 Two Copperplate Engravings, by Herr Schaffer. 
 
 1. “ St. Lawrence brought before Decius f from a Drawing by M. Kupelwieser, in continuation 
 of the series of Prescoes by Pra Angelico in the Chapel of Nicholas V. in the Vatican.* 
 
 2. “ The Pieta, or Lamentation previous to the Interment ,” from a Drawing by Signor Belloli 
 after the Presco by Giotto in the Chapel of Santa Maria dell’ Arena at Padua. 
 
 OCCASIONAL PUBLICATIONS FOR 1851, 1852, 1853. 
 
 Three Plaster Casts, from Reductions in Alabaster by Mr. Cheverton, of the Monuments 
 of the Parthenon, now forming part of the Elgin Collection in the British Museum. 
 
 1. The Theseus. The original marble was placed on the southern or left side of the eastern 
 pediment of the Parthenon, the sculptures of which represented the miraculous birth of Minerva. 
 It is the best preserved statue that has descended to modern times of the series which we owe to 
 the genius of Phidias; and the hack, though in its ancient position hidden from view by the 
 tympanum of the building, is no less wonderful in execution than the most conspicuous parts of 
 the figure. The lion’s skin beneath the body is a characteristic commonly attributed to Hercules 
 alone; and this, with the similarity of attitude to that in which Hercules is represented on the 
 coins of Crotona, has led to a supposition that the son of Alcmena is here intended rather than 
 Theseus. The original sculpture is 1 ft. 3 in. in height by 5 ft. 9 in. in length, and the reduction 
 is to the scale of one-third. 
 
 2. The Ilissus. The original marble is supposed to represent the deity of the small river 
 which watered the southern plain of Attica. This statue occupied the left or northern angle of 
 the tympanum in the western pediment of the Parthenon, and formed part of a group representing 
 the contest between Minerva and Neptune for the local supremacy at Athens. The body of the 
 Water God is partially raised from a recumbent posture, and the head, now lost, was originally 
 turned to behold the triumph of the Virgin Goddess. The dimensions of the original are 2 ft. 8 in. 
 in height by 6 ft. 3 in. length, and the reduction is to the scale of one-third. 
 
 3. A Slab from the Parthenon Frieze, numbered 47 in the British Museum. This marble 
 represents in bas-relief two youthful horsemen, lightly clad, the one in a chlamys, the other in a 
 cuirass, tunic, and long boots, forming part of the Panathenaic procession represented in the frieze 
 
 * The prefect having required St. Lawrence to deliver up the treasures, he presented, as such, all the poor, the sick, and 
 the helpless whom he could collect, and was in consequence sentenced to a painful death. Decius here sits on a throne, pointing 
 to the instruments of torture which lie on the ground. St. Lawrence, with his hands bound, stands unmoved : around are 
 numerous soldiers and attendants. This fresco bears two inscriptions, which, whether original or subsequently added, are both 
 inaccurate. Over the head of Decius is the title “ Imperatorand below his feet a.d. ccliii. ihe prefect of Lome seems to 
 have been confounded with the emperor of the same name, who died a.d. 251. St. Lawrence was martyred a.d. 258. 
 
 D 
 
10 
 
 Descriptive Notice of the 
 
 surrounding tire cella of tlie Parthenon. The original, which was the most northern slah at the 
 west end of the tenvple, is 3ft. Tin. in height by 5 ft. 7b in. in length, and has been reduced to the 
 scale of one-fourth. 
 
 The merit of producing the reductions from which these Plaster Casts were taken is due to 
 the ingenuity of the late Mr. Clicverton, the ivory carver, who invented many years since a 
 machine for copying works of sculpture on any reduced scale, with an accuracy to which no 
 other contrivance has yet attained. A general correctness of form resulting necessarily from the 
 application of certain mathematical conditions has, indeed, been subsequently secured hy other 
 mechanicians, as in the well-known and deservedly popular reductions of M. Collas of Paris. But 
 Mr. Cheverton, it is believed, has alone succeeded in the perfect expression of surface, owing to 
 his employment of one instrument of sufficient power to work in hard materials, and capable of 
 executing its purpose so completely and minutely as to need no subsequent finishing hy hand. 
 A remarkable proof of this delicacy of execution was once afforded hy Sir Prancis Chantrey in a 
 very conclusive instance. On seeing a reduction hy Mr. Cheverton from one of his own works, of 
 which two or three copies had been made, he at once distinguished it as having been taken directly 
 from the original hy recognising his own touch upon the surface of the marble. The method of 
 proceeding with each of these reductions was as follows: A cast from the original was first 
 obtained, which, with figures of such magnitude, may he considered as expressing every character¬ 
 istic of form and surface as perfectly as the marble itself. Prom the cast Mr. Cheverton executed 
 his reduced model in alabaster; hut the particulars of this process cannot he stated, never having 
 been divulged hy the inventor. 
 
 There is a peculiar value in such finished workmanship when applied to monuments of such 
 surpassing interest as the fragments from the Parthenon.* 
 
 FOURTH YEAR (185 2-5 3). 
 
 ANNUAL PUBLICATIONS. 
 
 Eight Engravings on Wood, by Messrs. Dalziel, after Mr. W. Oliver Williams’s 
 drawings from the Frescoes by Giotto, in the Chapel of Santa Maria del! Arena, at Padua, 
 illustrating the history of the Virgin Mary and our Lord. 
 
 1. Joachim, afterwards the father of the Virgin, having brought a lamb as an offering, is 
 rejected by the High Driest Issachar as one ichose childlessness teas a manifest proof of the 
 Divine disfavour. 
 
 2. Joachim retires humiliated to his flocks in the Wilderness. 
 
 3. Anna, his wife, praying in her chamber, receives from an angel the promise of a child. 
 
 4. Joachim offering sacrifice. In the heavens, a Divine hand, indicative of acceptance. The 
 Angel Gabriel is addressing words of comfort to Joachim, who prostrates himself. 
 
 * Messrs. Elkington and Co. of Birmingham and London have been permitted by the Arundel Society to produce, by 
 electro-deposit, bronze repetitions of the models, which, with an exactness of representation equal or superior to casts, unite the 
 advantages of a material of the greatest durability and strength, and not liable to deterioration by exposure to the atmosphere, 
 even of London, The plaster casts of the Theseus and Uissus are no longer supplied by the Society. 
 

 ANNUAL PUBLICATIONS. 
 
 Third Tear (1851-52). 
 
 ANNUAL PUBLICATIONS. 
 
 Fourth Year (1852-53). 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Publications of the Arundel Society. 
 
 11 
 
 5. Joachim, in a trance, is encouraged by a vision of the Angel Raphael. 
 
 6. Joachim returning from the Wilderness is met at the Golden Gate of Jerusalem by his 
 wife and her attendants. 
 
 7. The birth of the Virgin Mary. The incident of a female receiving a loaf at the door, at 
 the left of the picture, is characteristic of the naturalism of the painter. 
 
 8. The Virgin presented in the Temple. The legend represents this event to have occurred 
 when Mary was but three years old, and dwells on the miraculous facility with which she ascended 
 the steps of the Temple. Giotto, however, has either disregarded or failed in the expression of 
 this incident. 
 
 Giotto di Bondone. Born at Yespignano, near Florence, 1270. Died at Florence 1336. 
 Giotto was born of peasant parents, and when thirteen years old, as a shepherd boy, while drawing 
 the figure of one of his sheep on a piece of stone, he attracted the attention of Cimabuc, and 
 became his pupil. At the age of twenty lie was called as a master to Borne; there he painted the 
 principal chapel of St. Peter’s, and worked in mosaic also, no handicrafts that had colour or form 
 for their object seeming unknown to him. Then, returning to Florence, he painted Dante about 
 the year 1300, the thirty-fifth year of Dante’s life, the twenty-fourth of his own; and designed 
 the fagade of the Duomo. Six years afterwards he went to Padua, painting in the Arena Chapel 
 and other places; then to Assisi; afterwards he engaged himself in other tasks at Ferrara, 
 Verona, and Ravenna, and at last at Avignon, where he became acquainted with Petrarch. In 
 1327 he went to Naples, where he executed many works, and finally returned to Florence in 
 1332. During the life of Giotto a great advance in the fine arts took place, perhaps the most 
 important that history records, and his own genius and devotion were in great measure the 
 causes of the change. He emancipated himself from the formalism of the old Byzantine models, 
 and effected a complete revolution in the artistic principles of his time. lie was not only a 
 painter but practised architecture and sculpture with considerable success. Giotto was also the 
 contemporary and intimate friend of Dante, whose great poem of the Paradiso suggested the 
 subject of one of his finest works, painted in the lower church at Assisi, and representing Poverty, 
 Chastity, and Obedience. In the upper church at Assisi there are twenty-eight frescoes, from 
 scenes in the life of St. Francis, the greater number of which are attributed to Giotto.* His 
 chief scholar was Taddeo Gaddi, who lived with him twenty-four years, and completed his 
 unfinished works. The Chapel of Santa Maria dell’ Arena at Padua was built about the year 
 1303 by Enrico Scrovegno, a noble of that city, and immediately on its completion Giotto was 
 employed to decorate the walls, he being at that time the acknowledged master of painting in 
 Italy. The frescoes he painted in the chapel are the earliest of the artist’s great works which 
 still survive to us, and probably, at the time of their execution, the most complete production oi 
 the art existing in Europe. The plan of the Arena Chapel is a simple oblong, from the cast end 
 of which is projected a narrow tribune, terminating in a trilateral apse. In this tribune 
 are six frescoes, which, though probably from Giotto’s designs, were executed by Taddeo di Bartolo 
 of Siena, and are therefore not included in the series published. The nave or body oi the 
 building is decorated throughout with paintings from the hand of Giotto. The west wall is 
 covered with a representation of the Last Judgment, of great artistic merit and interest, but 
 
 containing incidents and modes of delineation so obnoxious, not merely to the religious feclin 
 
 (V 
 
 but to the more refined delicacy, of modern times, that it has not been thought expedient to 
 attempt any publication of it. The other three sides of the chapel arc painted in three rows or 
 tiers with subjects which may be considered as primarily devoted to the honour ol the Virgin 
 Mary, to whom the building was dedicated. The upper tier represents the history of her parentage 
 
 * Several of these subjects are among the Society’s collection oi drawings. 
 
12 
 
 Descriptive Notice of the 
 
 and early life, taken chiefly from the Apocryphal Gospels; the two lower, the scenes from the 
 life of Our Lord, in winch his mother is frequently seen; and the series is completed by the 
 frescoes within the tribune, which represent the concluding events of her history. On the dado 
 are allegorical figures in chiaroscuro of the Cardinal Virtues and their opposing Vices.* The 
 ceiling, which is cylindrical, is blue powdered with golden stars, and enriched with circular 
 medallions, containing heads within ornamental borders; and in the interstices of the wall- 
 subjects are painted hands of mosaic pattern, or arabesque foliage. At the time of his death 
 Giotto was occupied with the works of the Duomo at Florence. He designed the Campanile in a 
 more perfect form than that which now exists, for his intended spire 150 feet in height was never 
 erected. He modelled the bas-reliefs for the base of the building, and sculptured two of them 
 with his own hand, hut he only lived to see the foundations laid and its first marble story rise. 
 
 FIFTH YEAR (1853). 
 
 ANNUAL PUBLICATIONS. 
 
 I. A Notice of Giotto and his Works in Padua, by John Ruskin. Part 1, explanatory 
 of the subjects engraved for the fourth and fifth years. 
 
 II. Six Engravings on Wood (9 to 14), in continuation of the series of Frescoes by 
 Giotto, in the Arena Chapel at Padua :— 
 
 9. The Rods are brought to the Nigh Priest. He had announced that the Virgin should he 
 espoused to that one of the house of David whose Rod, when brought to the altar, should hud, and 
 he lighted upon by a dove. 
 
 10. The watching the Rods at the Altar. The High Priest and all the suitors kneel in 
 expectation. The Divine hand is seen, hut as yet no miracle appears. 
 
 11. The Betrothal of the Virgin. The Rod has budded, and the Divine will declared by the 
 appearance of the dove. 
 
 12. The Virgin Many returns to her Home. She is attended by her seven bridesmaids, and 
 preceded by musicians and two other persons, one of whom is supposed to he Joseph. 
 
 13 and 14. The Annunciation. The Angel Gabriel kneeling as he delivers his message. The 
 Virgin also kneeling in reverential acquiescence. 
 
 * Copies of these figures are among the Society’s collection of drawings. 
 
annual publications. 
 
 Fifth Year (1853). 
 
A X X UAL PUBLICATIONS. 
 
 Sixth Yf..v$ (1854) 
 
:VNNUAL PPUBLICATIONS. 
 Seventh Year (1855). 
 

Publications of the Arundel Society. 
 
 13 
 
 SIXTH YEAR (1854). 
 
 ANNUAL PUBLICATIONS. 
 
 I. A Notice of Giotto and his Works in Padua , by John Ruskin. Part 2, explanatory 
 of the subjects engraved for the sixth year. 
 
 II. Eight Engravings on Wood (15 to 22), in continuation of the series of Frescoes 
 by Giotto in the Arena Chapel at Padua :— 
 
 15. The Salutation. The Virgin. Mary received by her cousin Elizabeth at her house. 
 
 16. The Nativity of Our Lord. The same treatment of this subject will he found repeated, 
 with slight variations, in contemporary ivory carvings. 
 
 17. The Adoration of the Magi. Under an open shed sits the Virgin with her Child. 
 
 18. The Presentation in the Temple. In the air is an angel announcing to the aged Simeon 
 the close of his mission. 
 
 19. The Flight into Egypt. A guardian angel precedes the Virgin and her Child. 
 
 20. The Massacre of the Innocents. Prom a balcony above, Herod is urging the massacre. 
 
 21. Christ disputing in the Temple. Our Lord sits in the centre of a circle of Elders. 
 
 22. The Baptism of Christ. He stands immersed, half-hidden by the water. 
 
 SEVENTH YEAR (1855). 
 
 ANNUAL PUBLICATIONS. 
 
 I. Four Engravings on Wood (23 to 26), from the same series of Frescoes, viz.: 
 
 23. The Marriage Feast at Cana. 
 
 24. The Raising of Lazarus. 
 
 25. Christ's Entry into Jerusalem. 
 
 26. The Expulsion of the Money-changers from the Temple. 
 
 II. Notices of Sculpture in Ivory , being a Lecture on the History, Methods, and Pro¬ 
 ductions of the Art, by M. Digby Wyatt; and a Catalogue of Specimens of Ivory Carvings 
 in various Collections, by Edmund Oldfield. With Nine Photographic Illustrations* 
 
 * The illustrated edition of this work is now out of print, but the Lecture and Catalogue can still be obtained 
 
14 
 
 Descriptive Notice of the 
 
 OCCASIONAL PUBLICATIONS, 1855. 
 
 Facsimiles of Ancient Ivory Carvings. 
 
 The value of these fictile imitations is chiefly for those who would trace the successive 
 developments of art, not merely in quest of external beauty, hut as the expression, and often the 
 most natural and truthful expression, of the faith, the sympathies, or the enjoyments of former 
 generations. 
 
 Por the ability to offer this instructive series to the notice of the public, the Arundel Society 
 has to acknowledge its obligations to some amateurs. The materials were originally collected by 
 Mr. Alexander Nesbitt, assisted by Mr. Westwood, the author of Palceographia Sacra, and Mr. 
 Pranks of the British Museum. These gentlemen, with the permission of the guardians and 
 owners of some of the principal museums and private collections, both in England and on the 
 Continent, made impressions in gutta-percha from the most interesting specimens of ancient ivory 
 carvings there preserved, effecting the operation uniformly, it is believed, without injury to the 
 originals. Prom these impressions types or models for moulding were made by Mr. Pranchi; and 
 from the types again, by means of elastic moulds, casts were procured in “ fictile ivory.” Desirous 
 of rendering the collection thus formed conducive to the promotion of those objects for which the 
 Arundel Society was founded, the gentlemen already named transferred to that body all their 
 materials. The entire collection has been distributed into fourteen classes, and each of them 
 represents either the workmanship of some particular school or the application of the art to some 
 special purpose; whilst within each class the carvings have as far as possible been chronologically 
 arranged. This classification was made by Mr. Edmund Oldfield, w r ho has likewise drawn up, for 
 the benefit of those who are not familiar with this species of monuments, a descriptive catalogue 
 of the whole. A more general view of the subject, comprehending a short historical sketch of the 
 introduction and application of ivory to purposes of decoration, and of the progress and technical 
 methods of sculpture in this material, was supplied by Mr. Digby Wyatt in a lecture delivered by 
 him at the rooms of the Arundel Society on the occasion of its General Meeting on the 29th of 
 June, 1855. This Lecture, together with the Catalogue, formed part of the annual issue for the 
 
 year 1855. 
 
 •/ 
 
 A general idea of the character of the carvings may be formed from the following brief 
 summary of the contents of the several classes. It will thence be seen that the peculiar value of 
 the collection—which results from the circumstances of its formation and from its unpretending 
 material, but which renders it more instructive than the richest single collection of original ivories 
 —consists in the completeness and continuity with which it illustrates all the vicissitudes of the 
 sculptural art; exhibiting its first decline, from the exuberance of Bo man luxury to the laborious 
 littleness of Byzantine formalism; its collapse in Western Europe after the overthrow of the 
 Imperial civilisation; its reviving struggles in the rude hand of Norman vigour; and its eventual 
 emergence in all the grace and spirituality of the best Gothic age. This means of illustration is 
 of the greatest value w T ith reference to the most barbarous periods, when sculpture on a larger 
 scale was almost extinct, and the few monuments which survived have since been generally either 
 destroyed by rapine or defaced by careless exposure. 
 
 Class I. Homan Mythological Diptychs .—This consists of three specimens of ancient Roman 
 Diptychs, each being a folding pair of ivory tablets united by hinges, the exterior sculptured with 
 bas-reliefs of mythological or allegorical subjects, and the interior intended to be covered with 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ♦ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Class I. Roman Mythological Diptyciis. 
 
 lass II. Roman and Byzantine Historical 
 
 Din'YCHS. 
 
 CASIONAL PUBLICATIONS, 1S55. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Class III. Christian Dittychs. Anterior to 
 a. d. 700. 
 
 Book-covers. Anterior to a. r>. 700. 
 
 OCCASION AT, PUBLICATIONS (1855. continued). 
 
15 
 
 Publications of the Arundel Society. 
 
 Avax, for writing upon with a stylus. The first specimen, representing /Escnlapius and Hygeia, 
 is remarkable for a finer execution than any other known object of this character. It is also the 
 earliest carving in the collection, being probably of the time of the A n to n i n e Emperors. 
 
 Class II. Homan and Byzantine Historical Biptychs. — This contains nine diptychs, or half- 
 diptychs, of winch the subjects carved on the exterior are exclusively historical, consisting of 
 portraits or actual incidents. The class may be subdivided into three series:— 
 
 1. Diptychs of personages believed to be Imperial. Two examples are given, each of high 
 interest and beauty; the first supposed to exhibit the Emperor Philip presiding at the Saccular 
 Games in a.d. 248; the other having full-length portraits, it is believed, of Yalentinian III. and 
 his mother, the Regent Galla Placidia, with a dignitary of their court in full armour. 
 
 2. Diptychs of Consuls with their names inscribed. These are of much value, both from the 
 illustrations of costume and manners presented by the figures of the consuls and the various 
 incidents shown in connection with their assumption of office, and also from the circumstance, 
 that, by comparison of the inscriptions with existing historical records, the exact year when each 
 diptych was executed has been determined. The earliest is of the year 428 and the latest 525. 
 The first belongs to the "Western Empire, the remaining four to the Eastern. 
 
 3. Diptychs of Consuls with no names inscribed, hut of the same character as the preceding. 
 The ivories represented in the entire class were originally designed for presents, distributed by the 
 consuls of the Lower Empire on their accession to office—a practice which may be compared with 
 the donations of gold rings still made by our serjeants-at-law on their assumption of the coif. 
 One specimen in the second subdivision of this class has a representation of the distribution of 
 largesses on the accession of the Consul Clementinus, amongst which diptychs such as these are 
 introduced; another bears a Greek inscription, recording that it was presented to the Senate by 
 the Consul Philoxenus. 
 
 Class III. Christian Biptychs anterior to a.d. 700. — These diptychs are similar in fabric to 
 those already described, but designed for a different use, having been employed in the early 
 Christian Churches for the inscription of Liturgical notices, lists of bishops and saints to be 
 commemorated, and other ecclesiastical memorials. The most remarkable in this class is one 
 preserved at Monza, and traditionally reputed to have been presented by St. Gregory to the pious 
 Queen Theodolinda; it appears to have been originally a consular diptych with two portraits of 
 the consul, subsequently transformed into representations of St. Gregory and of King David, with 
 a superadded inscription commemorative of the apotheosis of the illustrious Eather. 
 
 Class IV. Book-covers anterior to a.d. 700.—Eive book-covers, or portions of book-covers, 
 of the sixth and seventh centuries, all Christian in subject. The first is remarkable for its size 
 and rich series of scriptural illustrations, and furnishes an interesting example of the early 
 combination of Christian symbolism with Pagan ornamentation. 
 
 Class Y. Biptychs and Book-covers of the Highth, Ninth, and Tenth Centuries. —Fourteen 
 examples from the darkest periods in the annals of mediaeval art, yet not without some dawning 
 symptoms of a day brighter than that which has preceded. Six of the book-covers may be 
 distinguished as specimens of French carving under the Carlovingian dynasty, some of which 
 present highly curious illustrations of the hybrid and fantastic style of allegory which had now 
 overlaid the truth and purity of art, and confounded the imagery of heathen mythology with the 
 most sacred conceptions of Christianity. 
 
 Class VI. Miscellaneous Objects anterior to a.d. 1000.—The most important of these 
 carvings is a holy-water vessel, in the form of a small bucket, with an inscription recording both 
 
16 
 
 Descriptive Notice of the 
 
 the use of the object and its approximate age, having been presented to the Cathedral of Milan by 
 Archbishop Godfrey on the occasion of a visit from the Emperor Otlio, whose date was from 973 
 to 978. 
 
 Class VII. Carvings of the Greek School, of various periods posterior to the Feign of 
 Justinian, a.d. 527—565. This series, which comprehends objects of various use, but chiefly 
 ornaments of book-covers, is one of the most curious and interesting in the whole collection. Its 
 chronological arrangement, however, can scarcely be determined with such certainty as that of 
 the carvings of "Western Europe, owing to the rigid adherence to traditional types peculiar in all 
 ages to the Byzantine artists. The following are some of the most remarkable specimens:— 
 1st. An Ecclesiastical Diptych, with eight subjects from the Life of Christ, each bearing an 
 explanatory inscription in barbarous Greek. 2nd. A splendid Triptych, with a central tablet 
 representing the Crucifixion, with various Saints in attendance (including Constantine the Great 
 and his mother Helena), and on each side a flap, or wing, having busts of Saints in medallions,— 
 the several personages distinguished by their names, and the subject illustrated by inscriptions in 
 prose and verse. 3rd. A Tablet, representing Bomanus IV. and Eudocia Dalassena crowned by 
 our Saviour. As the marriage and coronation of this Emperor and Empress took place in 1068, a 
 fixed date is obtained for this ivory, which determines also, by the correspondence of style, the 
 age of the triptych just described. 
 
 Class VIII. Casket from the Cathedral of Sens. —This casket, of uncertain date, contains 
 twenty-four panels, representing scenes from the lives of Joseph and of David. They are of Greek 
 workmanship. 
 
 Class IX. Carvings of the Italian School of the Fourteenth Century. —This is the only school 
 of Western Europe whose works it has been thought practicable to arrange in a separate series. 
 They are all believed to have been executed about the fourteenth century, the era of the Pisani 
 and Giotteschi, and proceed in most instances either from their hands or those of their Venetian 
 contemporaries. The carvings consist of triptychs, panels from caskets, and fragments from 
 retables, or portable screens placed at the backs of altars during high mass. 
 
 Class X. Carvings of the French, Fnglish, and German Schools of the Eleventh and Twelfth 
 Centuries. —This class contains objects of miscellaneous use, attributed to the eleventh and twelfth 
 centuries, which period includes the Norman era of architectural antiquities. 
 
 Class XI. Carvings of the Thirteenth and Fourteenth Centuries. — The specimens of the 
 thirteenth and fourteenth centuries from the schools just mentioned, which together constitute the 
 Northern Gothic, have been divided into three classes, of which the present contains the bas-reliefs 
 with sacred subjects. The majority of these were used as devotional tablets, either singly or in 
 pairs, united by hinges, and folding with the sculpture inwards,—a peculiarity which distinguishes 
 them from diptychs, or writing-tablets, with which the popular phraseology confounds them. 
 
 Class XII. Carvings with secular subjects, Thirteenth and Fourteenth Centuries. — The first 
 seven in the list are ornaments of small mirror cases, formerly carried by ladies. They were in 
 the form of flat, round boxes, of which both sides were carved on the exterior, and the edge 
 frequently decorated with little statuettes of lions, griffins, &c. Their reliefs illustrate commonly 
 scenes from mediaeval romances, or incidents of gallantry, and gentle sports. The second carving 
 in the list represents, with a charming naivete and delicacy, the elopement of Ginevra with Sir 
 Lancelot; the third treats, with no less playfulness and grace, a favourite allegory, the Siege of 
 the Castle of Love. This class also contains two writing tablets and two ornaments of boxes, with 
 subjects no less curious than those of the mirror-cases. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 - 
 
Class VI. Miscellaneous Objects. Anterior to 
 
 A. D. IOOO. 
 
 OCCASIONAL PUBLICATIONS (1855, continued). 
 
 
 

 
 
 
 
 
Class \ II. Carvings of the Greek School of 
 
 Various Periods. 
 
 Class VIII. Casket from the Cathedral of Sens. 
 
 OCCASIONAL PUBLICATIONS (1855, continued). 
 
"!3S 
 
 / 
 
 
 -to 
 
 
 v> 
 
 .nr" 
 
 jit 
 
 y - ^y- "■■ 
 
 Class IX. Carvings of the Italian School 
 . of the 14TH Century. 
 
 Class X. Carvings of the French, English and . 
 German Schools of the iitii and 
 i2th Centuries. 
 
 OCCASIONAL PUBLICATIONS (1S55, continued). 
 
Class XL Carvings of the 13TH and 14™ 
 Centuries. Sacred Subjects. 
 
 Class XII. Carvings of the 13TH and 14TH 
 Centuries. Secular Subjects. 
 
 
 OCCASIONAL PUBLICATIONS (1855, continued). 
 

 
 
 
 
 
Class XIII. Carvings of the 13x11 and 14x11 
 Centuries. Statuettes. 
 
 Class XIV. Carvings of Miscellaneous Western- 
 Schools OF THE 15TH AND i6TII CENTURIES* 
 
 OCCASIONAL PUBLICATIONS (1855, continued}. 
 

 
 
 
ANNUAL PUBLICATIONS. 
 
 Eighth Tear (1856). 
 

Publications of the Arundel Society. 
 
 17 
 
 Class XIII. Three small groups of Statuettes, of the same period and school as the two 
 preceding classes. One represents St. Mary and St. John beside the Cross, part of a subject of 
 which the central figure is wanting. 
 
 Class XIV. Carvings of Miscellaneous Western Schools of the Fifteenth and Sixteenth 
 Centuries .—Eleven Illustrations of the later Gothic and early Renaissance period, taken 
 promiscuously from all the schools of "Western Europe. The panel, of Italian workmanship 
 (a procession of figures), is an early example of the style to which the Gothic finally succumbed 
 in the Sixteenth Century. 
 
 With the introduction of the classic element, on which modern art is chiefly founded, the 
 series terminates. It was not thought necessary to accumulate memorials of a school so prolific 
 and generally known as that of the Cinquecentisti, still less to invite new attention to the debased 
 works of their successors. 
 
 Independently of the arrangement here described, a Select Class has been formed consisting 
 of fourteen of the most important specimens from the entire collection. 
 
 EIGHTH YEAR (1856). 
 
 ANNUAL PUBLICATIONS. 
 
 I. A View of the Interior of the Arena Chapel, Padua, in 1306. A Chromo-lithograph 
 by Mr. Vincent Brooks, from a Drawing by Mrs. Higford Burr.* 
 
 II. Two Engravings on Wood (27, 28), in continuation of the series of Frescoes in 
 the same Chapel, viz.:— 
 
 1. The Hiring of Judas. 
 
 2. The Last Supper. 
 
 III. The Martyrdom of St. Sebastian f A Chromo-lithograph by Mr. Vincent Brooks, 
 from a Drawing by Signor Mariannecci, after the Fresco by Perugino at Panicale. 
 
 IV. Five Engraved Outlines of the principal heads in the Martyrdom of St. Sebastian, 
 traced from the originals. 
 
 V. A Notice of Perugino’s Fresco of the Martyrdom of St. Sebastian, by A. H. 
 Layard, M.P. 
 
 Pietro Perugino. Born 1446. Died 1524. Pietro Vannucci was horn at a little town in 
 Umbria called Citta della Pieve, and he was known in his early life as Pietro della Pieve. After 
 he had settled at Perugia he was called Pietro di Perugia, or II Perugino, by which name he is 
 
 * This subject is out of priut and no longer sold by the Society. 
 
 t St. Sebastian was born at Narbonne in France, a.d. 288, but settled at Milan, and was there educated in the Christian 
 religion. He afterwards entered the army, and became a captain in the Pretorian guard ; while on duty at Rome he employed 
 himself in converting the heathen. He was at length arrested and carried before Diocletian, who, incensed at his firmness in 
 the Christian faith, ordered him to be tied to a tree and shot to death, which sentence was apparently carried out, but the saint 
 not being quite killed was restored by his friends, and on his again confronting Diocletian was seized and beaten to death with 
 
 clubs. 
 
 E 
 
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 ANNUAL PUBLICATIONS. 
 
 Eighth Year (1856, continued). 
 

 
 
 
 23iIlSA.II. ®1PA SAlIffT- 
 
 fna ■ frtKi it GikkM bj Obmn NiDI 
 
 9t 'rtthl W> «IT 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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 ANNUAL PUBLICATIONS. 
 
 Ninth Year (1857, continual). 
 

 
 
 
 
 
 
 
 
Publications of the Arundel Society. 
 
 19 
 
 NINTH YEAR (1857). 
 
 ANNUAL PUBLICATIONS. 
 
 I. Christ Among the Doctors. A Chromo-lithograph by Mr. Vincent Brooks, from a 
 Drawing by Signor Mariannecci, after the Fresco by Pintnricchio in the Cathedral of 
 Spello.* 
 
 II. Two Engraved Outlines of Heads in the Fresco of Christ among the Doctors, 
 traced from the originals. 
 
 III. The Madonna and Saints. A Chromo-lithograph produced under the direction 
 of Professor L. Gruner, from a Drawing by Mrs. Higford Burr after the Fresco by 
 Ottaviano Nelli in the Church of Santa Maria Nuova at Gubbio.* 
 
 IV. Two Engraved Outlines of I [cads in the Fresco of the Madonna and Saints, traced 
 from the Originals. 
 
 V. A Notice of Nelli’s Fresco of the Madonna and Saints , by A. H. Layard, M.P. 
 
 VI. Two Engravings on Wood (29 and 30), in continuation of the series of Frescoes 
 by Giotto in the Arena Chapel at Padua, viz.:— 
 
 1. The Washing of the Disciples’ Feet. 
 
 2. The Kiss of Judas. 
 
 PiNTumccuio. Born at Perugia 1454. Died at Siena 1513. lie was the son of one 
 Benedetto di Biagio, and, from the lowness of liis stature, was called Pinturicckio, or Picturicchio, 
 “ the little painter.” He was brought up in the school of Benedetto Bonfigli, under whom 
 Perugino had also learnt his art. Pinturiccliio holds a place as the link between Pietro Perugino 
 and Raphael. He was rather an assistant than a pupil of the former (being only eight years 
 vounger), and marks the transition between the Umbrian school and the Homan, founded by 
 Raphael. In some respects he was a more gifted artist than Perugino, displaying great dramatic 
 vigour in his works, and may he considered as the first of the historical painters of the Umbrian 
 school. He was a good landscape painter for liis time; to which class of art he was one of the 
 first to pay any great attention. In 1502 Pinturicchio executed his great work, the painting of 
 the library in the Cathedral of Siena with a series of historical representations from the life of 
 Eneas Sylvius Piccolomini, afterwards Pope Pius II., in which be employed the young Raphael 
 as his assistant in making some of the designs.! These works, with the frescoes he executed in 
 the churches of Santa Maria Aracoeli and of Santa Croce in Gerusalemme in Rome, and in the 
 chapel of Santa Maria Maggiore at Spello, may be classed among the most perfect examples of 
 the decorative mural paintings of the sixteenth century combined with architecture. The 
 subject of “ The Death of St. Bernardino in the church of the Aracoeli is a most elaborate 
 work, and the heads in it are marked by great power and expression. Those at Spello were 
 painted in the years 1500 and 1501, when Pinturicchio was in the full maturity of his powers. 
 The subjects occupy the three sides of the chapel—the fourth being open to the church— 
 
 * These subjects are out of print and no longer sold by the Society. 
 
 An interior view of tlie Library at Siena is among the Society’s collection of water-colour drawings. 
 
 £ This subject is also included in the collection of drawings. 
 
20 
 
 Descriptive Notice of the 
 
 and represent “ The Annunciation,” “ The Nativity,” and “ Christ disputing with the Doctors.” 
 These frescoes by neglect and indifference are fast disappearing. They are not widely known, 
 being out of the beaten track of travellers, and away from the main road. In one of them, “ The 
 Annunciation,” is his own portrait, signed “ Bernardinus Pictoricius Perujinus, 1501.” In the 
 third subject, “ Christ disputing with the Doctors,” the painter has introduced the portrait of his 
 patron Trojolo dei Baglioni, the Prior of Spello, at whose cost the frescoes were executed. 
 Pinturicchio appears to have made, like Andrea del Sarto, an unfortunate marriage. His wife 
 Grama consigned him to a terrible death. She locked him up in his house at Siena alone during 
 an illness, and left the unhappy painter to die of neglect and starvation. 
 
 Ottaviano di Martino Nelli, the son of a painter, flourished in the commencement of the 
 fifteenth century, and was a contemporary of Gentile de Pahriano. There is a probability that 
 among the pupils of Ottaviano may be reckoned Giovanni Sanzio, the father of Raphael. He 
 painted chiefly in fresco, and his works are remarkable for their warm colouring and the tender 
 expression and sentiment of the heads. The fresco of the Madonna and Saints in the Church of 
 Santa Maria Nuova at Gubbio was painted in 1403. This work is of considerable merit, and is 
 probably the best-preserved fresco of Nelli’s remaining. It represents the Virgin and Child 
 surrounded by saints and angels of a quaint and innocent simplicity, receiving the adoration of 
 the members of the noble family of Pinoli, for whom the fresco was painted, probably in 
 fulfilment of a vow. 
 
 OCCASIONAL PUBLICATIONS, 1857. 
 
 I. The Head of a Female Saint. A cast from a bas-relief by Donatello, in the 
 possession of Lord Elcho. 
 
 II. Two Photographs. From copies executed by Mr. Rainford, after the • paintings by 
 Tintoretto in the Scuola di S. Rocco at Venice, viz.:— 
 
 1. Christ before Pilate. 
 
 2. Christ bearing the Cross. 
 
 With a Description by John Ruskin. 
 
 Donato di Belto di Bardi, known commonly as Donatello, was born of humble parents at 
 Florence in 1383. He died in 1466. Under the patronage of the Martclli family he became the 
 pupil of Lorenzo Bicci. His great talents attracted the attention of Cosimo de’ Medici, for whom 
 he executed many important works. The tendency of his mind was towards sentiment and 
 nature, the characteristics of Christian art, and in studying the works of Brunellesco his style 
 assumed great breadth and grace. Donatello was not only an excellent sculptor but was also 
 very skilful in works of stucco, and highly esteemed as an architect. He was the true restorer of 
 sculpture, and the first who succeeded in giving to his figures that freedom of movement and 
 force of expression which were afterwards carried to the highest point by Michelangelo. He is 
 also the more worthy of commendation, because in his day the antiquities, from which later 
 masters studied, had not been discovered and excavated. Among the masterpieces of Donatello 
 may be mentioned the figure of a Magdalene for the baptistery of Florence, the tomb of Pope 
 Giovanni Coscia (John XXIII.), and the celebrated figure of St. Mark, which is said so to have 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 • » 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 CCA SION AL PUBLICATIONS, iS.S7 
 

21 
 
 Publications of the Arundel Society. 
 
 excited the admiration of Michelangelo as to make him ask, “ IVell! why don’t you speak ? ” 
 Among his principal has-reliefs are those in the Medici palace, and those representing the life 
 of St. Anthony for the Sanctuario of Padua, and the gates of the Church of St. John at Siena, 
 afterwards removed to Plorence. The private character of Donatello was remarkable for its 
 virtue, goodness, and liberality; he attached little value to his gains, hut kept what money he 
 had in a basket, suspended by a cord to the roof, and from this all his assistants as well as his 
 friends took what they needed, without being expected to say anything to him. He passed his old 
 age cheerfully, and, when he became too decrepit to work longer, he was taken care of by Cosimo 
 de’ Medici, and others of his friends. 
 
 Jacopo Bobusti. Born at Venice 1512. Died 1594. His father was a dyer (in Italian 
 tintore ),—hence he received in childhood the diminutive nickname II Tintoretto, by which he is 
 best known to us. He was a contemporary and pupil of Titian, hut was dismissed by that master 
 for disobedience to his commands; although it has been affirmed that the great artist was jealous 
 of his pupil. Tintoretto, however, pursued his studies, and, as he had a good opinion of his own 
 talents, when he set up his establishment, wrote the following words over his workshops (the 
 refined “studio” had uot then been invented) : “ The design of Michelangelo, and the colouring of 
 Titian.” Tintoretto’s pictures display great originality of conception and a depth and force almost 
 unsurpassed; but as a painter he was unequal, and in his compositions may he found frequently 
 great faults, side by side with the liighest beauty. He possessed wonderful facility of execution, 
 but did not give sufficient time and study to his work. The portraits by Tintoretto are a class of 
 his works more carefully executed than any other. In the Scuola di San llocco there are fifty- 
 seven paintings by this prolific artist; several of them are very large, and the figures throughout 
 are the size of life. The Crucifixion, painted in 1565, is perhaps the finest of his works, both in 
 conception and execution. In the Academy of the Pine Arts at Venice is another fine production 
 by Tintoretto. It was originally in the Scuola of St. Mark, near SS. Giovanni e Paolo. It 
 represents St. Mark appearing in the air and delivering a man, who was his votary, from the 
 torments of martyrdom. This picture exhibits a great number of figures and many well-executed 
 foreshortenings and portraits from the life, which render the work one of infinite interest; it is 
 also painted with great care, and glows with colour and movement. 
 
 G 
 
22 
 
 Descriptive Notice of the 
 
 TENTH YEAR (1858). 
 
 ANNUAL PUBLICATIONS. 
 
 I. The Nativity of our Lord . A Chromo-lithograph by Mr. Vincent Brooks, from a 
 water-colour drawing by Signor Mariannecci, after the Fresco by Pinturicchio in the 
 Cathedral at Spello.* 
 
 II. Two Engraved Outlines of Heads in the Fresco of the Nativity of Our Lord, 
 traced from the originals. 
 
 III. The Burial of St. Catherine. A Chromo-lithograph executed by Messrs. Storcli 
 and Kramer, under the direction of Professor L. Gruner, from a water-colour Drawing by 
 Signor Bignoli, after the Fresco by Luini in the Brera Gallery at Milan.f 
 
 IV. Engraved Outline of two Heads in the Fresco of the Burial of St. Catherine, 
 traced from the originals. 
 
 V. A Notice of the Frescoes by Pinturicchio in the Cathedral at Spello, by A. H. 
 Layard, M.P. 
 
 VI. Four Engravings on Wood (31 to 34), in continuation of the series of Frescoes 
 by Giotto in the Arena Chapel at Padua: viz.— 
 
 1. Christ before Caiaphas. 
 
 2. The Flagellation. 
 
 3. Christ bearing the Cross. 
 
 4. The Crucifixion. 
 
 Bernardino Luini (or di Luvino, a village on the Lago Maggiore). Plourislied during the 
 early part of the sixteenth century. He studied in the school of Leonardo da Vinci, and was the 
 most distinguished follower of that master. As a fresco painter he was one of the greatest artists 
 that has appeared in Italy, and his excellence has been by no means sufficiently acknowledged. 
 The comparative obscurity of his name is partly owing to his having been overlooked by Vasari, 
 or only slightly mentioned under the designation of Bernardino da Lupino, and partly to some of 
 his best works being attributed to Leonardo da Vinci, though wanting Leonardo’s exquisite tone 
 and grandeur of style. Milan is rich in the works of Luini. A great number of his frescoes have 
 accrued to the Brera Gallery from the walls of suppressed churches and convents. There are 
 other frescoes in some of the palaces of Milan, as in the Casa Silva, and a great number in the 
 
 * The chromo-litliographs of the three subjects by Peuturiccliio at Spello are out of print and no longer sold by the 
 Society. 
 
 j- This chromo-]ithograp>h is out of print and no longer sold by the Society. The legend of St. Catherine was the most 
 popular in mediaeval times. She was the Minerva of Christianity, the patroness of Learning and Theology, and—on account 
 of her royal birth—of ladies of rank. She was the daughter of Costis king of Egypt, living at Alexandria, and was celebrated 
 for her acquirements in learning and philosophy. Being converted to the Christian faith she gave herself up to God, refusing 
 all offers of marriage, and lived in contemplation of the day when she should be united to her heavenly spouse. The tyrant 
 Maximian went to Alexandria and persecuted all the Christians who would not sacrifice to the gods. He ordered St. Catherine 
 to be tortured between four wheels armed with spikes; but when she was being bound to these wheels fire and lightning came 
 down from heaven, shattered them, and killed her executioners with the fragments that flew about. She was then scourged and 
 beheaded, and angels carried her body over the Red Sea to Mount Sinai, where it found its final resting-place. She was 
 martyred A.n. .307. 
 
ANNUAL PUBLICATIONS. 
 Tenth Year (1858). 
 

Cbt jf rrstori 
 HKttXj IM\Tl llimiln. 
 
 l\ mt (iimjjii wi? > in in n <ii • mim mMiinki 
 
 ANN UAL PU Li LI CAT ION S. 
 
 Tenth Year (1858, continued). 
 
ANNUAL PUBLICATIONS. 
 
 Eleventh Year (1859). 
 
 


Publications of the Arundel Society. 
 
 2 a 
 
 Franciscan Convent at Lugano. Amongst the latter may specially he mentioned “ The Cruci¬ 
 fixion,” containing about one hundred and forty figures, which are of great beauty, and full of 
 inspiration and faith. His finest works are the series from the Church at Saronno, painted about 
 the year 1530. These frescoes are admirable examples of mural decoration, and display great 
 appreciation of the beautiful, and excellence of design. They represent, 1. The Marriage of the 
 Virgin ; 2. The Adoration of the Kings ; 3. The Presentation in the Temple ; 4. Christ disputing 
 with the Doctors. “ Life is here painted in its most cheerful splendour, and yet with sincerest 
 feeling ; the Adoration of the Kings is particularly rich in invention, noble in style, and delicately 
 conceived.”* 
 
 ELEVENTH YEAR (1859). 
 
 ANNUAL PUBLICATIONS. 
 
 I. The Virgin and Child amidst Saints; and the Resurrection of Our Lord. A 
 Chromo-lithograph executed by Messrs. Storch and Kramer, under the direction of 
 Professor L. Gruner, from a water-colour Drawing by Signor Mariannecci, after the Fresco 
 by Giovanni Sanzio in the Church of St. Domenico at Cagli. 
 
 II. Engraved Outlme of the Figure of an Angel , from the Fresco by Sanzio (supposed 
 to be the portrait of the artist’s son Raphael), traced from the original. 
 
 III. The Virgin and Child, with portrait of the Donor. A Chromo-lithograph 
 executed by Messrs Storch and Kramer, under the direction of Professor L. Gruner, from 
 a water-colour Drawing by Signor Mariannecci, after the Fresco by Leonardo da Vinci in 
 the Monastery of St. Onofrio at Rome. 
 
 IV. Engraved Outline of the Head of the Virgin, from the Fresco by L. da Vinci, 
 traced from the original. 
 
 V. A Notice of the Fresco by Sanzio in the Church of St. Domenico at Cagli, by 
 
 A. H. Layard, M.P. 
 
 VI. Two Wood Engravings (35, and 36), in continuation of the series of Frescoes 
 by Giotto in the Arena Chapel at Padua: viz.— 
 
 1 . The Field. 
 
 2. The Resurrection. 
 
 Giovanni Sanzio, on Santi. Flourished during the latter part of the fifteenth century. f 
 In early life he was influenced by the works of Ottaviano Nelli (of whom there is a probability 
 he was a pupil) and Piero della Francesca ; but at a later period, when he had acquired the 
 friendship of Andrea Mantegna, his style greatly improved. He was the most distinguished 
 contemporary of Perugino; hut his fame rests, very unjustly, not so much upon the merits of his 
 works as upon the honour which the paternity of the greatest of painters has conferred upon him. 
 
 * See Kugler’s Handbook of Painting, vol. ii. p. 293, These works were published by the Arundel Society in the years 
 1864, 1865, and 1866. 
 
 f The date of his birth is not known. He was the son of one Sante, whose father Peruzzolo could trace his descent from 
 an ancestor also named Sante living in the beginning of the fourteenth century. From this ancestor he took the name of 
 “ de’ Santi,” Latinised into “ Sanctius,” and then Italianised into “ Sanzio.” 
 
24 
 
 Descriptive Notice of the 
 
 The style of this master is simple and serious, and his children’s heads are of great loveliness. Ilis 
 most developed pictures are chiefly those ivhicli were executed in Urbino. The fresco in the 
 Church of the Dominicans at Cagli, painted about the year 1492 for one Pietro Tiranni, and 
 reproduced in chromo-lithography by the Arundel Society, is the most important work that Sanzio 
 ever executed. It is divided horizontally into two distinct parts. In the lower division the 
 Virgin is seated on a throne supporting the Infant Christ, and on each side of her are two saints 
 and a hoy angel. According to a tradition, the angel, with his arms crossed, to the right of the 
 throne, is the portrait of Giovanni’s son Raphael, then a hoy nine years old. The four Saints are, 
 —the Baptist as the precursor, St. Peter as the head of the Catholic Church, and St. Prancis 
 and St. Dominic as the founders of the two great religious orders which were mainly instrumental 
 in establishing its authority. In the upper part, in a semi-circle, Santi lias painted the Resurrection 
 of our Lord. The drawing is full and animated, and the colouring fresh. This fresco is also 
 peculiarly interesting as showing the influence which he must have exercised over his son, the 
 figures in it having a charm which gives a foreshadowing of Raphael. 
 
 Leonard i da Vinci. Born in the year 1452 at Vinci, a village in the Val d’Arno. He died 
 in Prance in 1519. lie was a natural son of Pietro da Vinci, an advocate of Plorence, hy whom 
 he was placed in the school of Andrea Verocchio. Leonardi da Vinci stands at the head of a 
 period of the highest development of art. That period has never since been equalled. Within 
 thirty years, viz. between 1490 and 1520, the greatest painters whom the world has ever seen were 
 living and working together. Leonardo da Vinci displayed extraordinary versatility. He seemed 
 to possess all the gifts of the age in which he lived. He was a sculptor, architect, painter, 
 musician, and poet, as well as the best mathematician and most ingenious mechanic of his time. 
 Of the many fine productions by Leonardo da Vinci the two grandest were :—1. The equestrian 
 statue, intended to have been cast in bronze, of colossal dimensions, in memory of Prancesco 
 Sforza. The splendid anatomical studies which Leonardo made for this work still exist; but, 
 when Milan was conquered by the Prencli in 1499, the model was used as a target by the Gascon 
 cross-bowmen, and destroyed. 2. The fresco of the Last Supper, painted in the refectory of the 
 Dominican Convent of Santa Maria della Grazie at Milan. The picture is 28 feet, in length, and 
 the figures are larger than life. Of this magnificent creation of art only the mouldering remains 
 are now visible. During an inundation in 1500 it remained for a time partly under water, and 
 the colours thus became much faded, as the work was not in pure fresco but finished in oil. In 
 1652 a hole was broken in the wall on which it was painted for the purposes of a doorway. In 
 1726 the picture was entirely repainted, and in 1770 it was retouched a second time. Almost 
 every trace of Leornardo’s work has therefore vanished. Of this admirable picture, justly 
 regarded as the compendium of all Leonardo’s studies and writings, an engraving was made by 
 Raphael Morglien, and this work is considered the masterpiece of the engraver as the picture is 
 that of the painter. There is also a finished coloured copy of the fresco in the Brera Gallery at 
 Milan. The fresco from the Convent of St. Onofrio at Rome, published by the Arundel Society, 
 was painted by Leonardo after he had for some years employed his talents in Upper Italy as an 
 engineer. It was executed about the year 1514, when Raphael, at the height of his fame, was 
 engaged in painting the frescoes in the Vatican. 
 
 As an additional proof of the versatile genius of this great man may be mentioned a Map of 
 the World in his handwriting, lately discovered by Mr. B. B. Woodward, the Queen’s Librarian, in 
 Her Majesty’s Library at Windsor, and described by Mr. R. II. Major, in a paper printed in 
 vol. 40 of the Archaeologia. This map is the more remarkable as it is supposed to be the earliest 
 yet made known to the world in which the name of America is inscribed. Of the various writings 
 on Art by Leonardo, the Trattato della Pittura has descended to our times, and still forms a very 
 useful compendium. 
 

 
 
 
 
 * 
 
 
 
 
 
 
 
 
 
 

 OCCASIONAL PUBLICATION, 1859, 
 
 
 V" 
 
 ANNUAL PUBLICATIONS. 
 Eleventh Vi ar (i8s2,continue(l). 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

3 rrna if ha pci. Papua 
 
 THE FRESCOES OF OI OT TO, 
 
 I H I V 1 RCI N \ N D () T R SAVIOI K. 
 
 A R V N D K 1 SOCIK'I Y. 
 1S60. 
 
 ANNUAL PUBLICATIONS. 
 Twelfth Vf.ar (i860). 
 

 
 
 
 
 
 
 
 
 
 
 
 
25 
 
 Publications of the Arundel Society. 
 
 OCCASIONAL PUBLICATION, 1859. 
 
 The Portrait of Dante. A Chromo-lithograph from the Fresco by Giotto, in the 
 Palazzo del Podesta (now called the Bargello), from a fac-simile traced and coloured by 
 Mr. Seymour Kirkup. 
 
 This portrait, painted about the year 1300, formed part of one of the earliest recorded 
 performances of Giotto, in which was also introduced tlie portraits of Brunetto Latini, Corso 
 Donati, and others. Yasari speaks of these works as the first successful attempts at portraiture 
 after the revival of art. The fresco was plastered over not long after it was done by the political 
 enemies of Dante, and for ages, though known to exist, it was buried from sight. The merit of 
 restoring this most valuable relic to light is due to Mr. Aubrey Bezzi and Mr. Seymour Kirkup, 
 who in 1840, with the permission of the Tuscan Government, removed the plaster and discovered 
 the portrait. It roused great enthusiasm among the Florentines, and thousands, shouting 
 “ l’abhiamo il nostro poeta,” flocked to gaze on the well-known features of their beloved poet. 
 When the portrait was painted by Giotto, Dante was still in middle life, and his features were not 
 marked with that melancholy which the ingratitude of his country afterwards wrote upon them. 
 Unfortunately, before the plaster was removed, a nail had heen driven into the wall where the eye 
 was ; it was carelessly pulled out, bringing with it the original plaster of the wall. Soon after the 
 discovery the head was re-painted, and the original likeness lost, but, fortunately, not till Mr. 
 Kirkup had made a careful coloured tracing from it. 
 
 TWELFTH YEAR (1860). 
 
 ANNUAL PUBLICATIONS. 
 
 I. The Death of Saint Francis of Assisi. A Chromo-lithograph executed by Messrs. 
 Storch and Kramer, under the direction of Professor L. Gruner, from a water-colour 
 drawing by Signor Mariannecci, after the Fresco by Domenico Ghirlandaio, in the Church 
 of Santa Maria Trinita at Florence.* 
 
 II. Heads of a Bishop and a Priest. A Chromo-lithograph from the above-mentioned 
 Fresco on the scale of the original. 
 
 III. A Notice of Ghirlandaio , with an account of the Fresco of St. Francis, by A. H. 
 Layard, M.P. 
 
 IY. Two Wood Engravings (37 and 38), concluding the series of the Frescoes by 
 Giotto, in the Arena Chapel, Padua : viz.— 
 
 1. The Ascension. 
 
 2. The Descent of the Holy Spirit. 
 
 Y. Title-page and List of Subjects belonging to the above series of Wood Engravings. 
 YI. A Notice of Giotto and his Works in Padua , by John Ruskin. Part III. con¬ 
 cluding the work. 
 
 Domenico Ghirlandaio. Bom 1449. 
 Bigordi was the son of a goldsmith of repute 
 
 Died 1497. Domenico di Tommaso di Currado 
 in Florence, who was called “ II Ghirlandaio,” or 
 
 * The chromo-lithograph of this subject is out of print and no longer sold by the Society. 
 
26 
 
 Descriptive Notice of the 
 
 “ Grillandaio,” tlie garland maker, because of the gold and silver wreaths which were made by 
 him, and worn in those luxurious times by the Florentine damsels. The nickname descended to 
 his son, who was intended for the profession of a goldsmith; hut at the age of twenty-four he left 
 it, took to painting, and earned the reputation of being one of the chief masters of his time in 
 Florence. Ghirlandaio surpassed all his contemporaries in the precision of his drawing and the 
 delicacy of his execution. He had many scholars, the most eminent being Michelangelo, 
 who, according to tradition, assisted him in the frescoes of Santa Maria Novella. Ghirlandaio’s 
 principal works are in Florence. An important characteristic in the productions of this master is 
 the introduction of portraits of celebrated contemporaries as spectators in his historical repre¬ 
 sentations. Among his earliest works is the fresco of “ The Last Supper ” in the refectory of the 
 Church of the Ognissanti at Florence, bearing the date of 1480. This fresco is remarkable for 
 the diversity of expression given to each head, particularly that of Judas, which is very striking.* 
 Ghirlandaio painted the same subject in the refectory of the Convent of St. Mark; but there is 
 much less force and expression in that composition. In the Sassetti Chapel of Santa Maria 
 Trinita he painted six frescoes, which were completed in 1485, representing events in the history 
 of St. Francis of Assisi. Of these the death of the Saint is considered to be the painter’s master¬ 
 piece, and one of his most perfect historical works. The scene is placed in an open colonnade, 
 terminating with an altar, a free representation of Santa Maria degli Angeli, where the saint 
 expired in 1226. The heads are depicted with great skill; at the head of the bier is a bishop 
 chanting the litanies, with spectacles on his nose, which is the earliest known representation of 
 those implements, then recently invented. In a Chapel of the Collegiate Church at St. 
 Gimignano are a series of frescoes by Ghirlandaio ; one, representing the death of Santa Fina (to 
 whom the chapel is dedicated), is a very fine work, but resembling much in design the artist’s 
 fresco of the death of St. Francis.f Ghirlandaio was also invited to Home by Pope Sixtus IV. to 
 take part, in rivalry with his eminent contemporaries, in the painting of the Sistine Chapel, where 
 he depicted “ The Calling of Peter and Andrew ” and “ The Resurrection of Christ.” The latter 
 is now destroyed, but the other subject displays in a remarkable degree the powers of a great 
 painter. 
 
 His most important undertaking, which was completed in 1490, was the decoration of the 
 Tornabuoni Chapel of the Church of Santa Maria Novella at Florence. The walls were covered 
 with fourteen frescoes, representing on one side events in the life of the Virgin, and on the other 
 incidents in that of St. John the Baptist. In these compositions he has, as usual, introduced 
 portraits of distinguished and illustrious persons of his day, among whom may be mentioned 
 Ginevra de’ Benci, the celebrated beauty, and many members of the Medici and Tornabuoni 
 
 families.+ 
 
 Ghirlandaio in later life devoted himself to mosaic, having executed works in this material 
 at Florence, Orvieto, and Siena. He was wont to say that “ painting was design, but that the 
 true painting for eternity was mosaic.” 
 
 * The Society possesses a drawing of this subject, which was published in 18G6 as a chromo-lithograph, 
 f The Society possesses a copy of this fresco amongst its collection of drawings. 
 
 t Eleven of these subjects are among the Society's collection of water-colour drawings ; two of them, “ Zacharias naming 
 his Son ” and “ St. John Preaching,” were published in 1867. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Publications of the Arundel Society. 
 
 27 
 
 THIRTEENTH YEAR (1861). 
 
 ANNUAL PUBLICATIONS. 
 
 Seven Chromo-lithographs executed by Messrs. Storcli and Kramer, under the direction 
 of Professor L. Gruner, from water-colour Drawings by Signor Mariannecci, after the 
 Frescoes in the Brancacci Chapel in the Church of Santa Maria del Carmine at Florence : 
 viz.— 
 
 1 and 2 (on one sheet). The fall of Adam and Ere, and The Expulsion from Paradise, after 
 Masaccio. 
 
 3. The Tribute Money, after Masaccio. 
 
 4 and 5 (on one sheet). Two Heads from the Tribute Money, on the scale of the original 
 fresco. 
 
 6 and 7 (on one sheet). St. Peter Baptizing and St. Peter Preaching, after Masaccio. 
 
 Masaccio. Born 1402. Died 1429.* Tommaso di Giovanni di Simone Guidi, the son of a 
 notary, was horn in the town of St. Giovanni on the Arno above Florence. He was familiarly 
 called Masaccio, a reproachful corruption of his own name, meaning “ slovenly or dirty Tom,” on 
 account of his negligent habits and dress. At an early age he obtained celebrity by painting 
 some frescoes in the chapel of St. Catherine in St. Clemente at Home; and upon the death of 
 Masolino he received a commission to complete the great work of decorating the Brancacci Chapel. 
 During the progress of this he left Florence hastily for Borne, it is supposed for the purpose of 
 escaping his creditors. Much mystery hangs over the cause of his death, which was sudden, hut 
 a report was circulated in Florence that he was poisoned. Masaccio’s marks one of the distinct 
 and well-defined periods of the development of art in the fifteenth century, in the same manner 
 that Giotto does in the fourteenth, both giving in their day a decided impulse to the new 
 direction in which art was progressing. In skill as a draughtsman and designer in colour on a 
 large scale, Masaccio anticipated the artistic triumphs of the sixteenth century. 
 
 The Brancacci Chapel in the Church of Santa Maria del Carmine at Florence was built in 
 the early part of the fifteenth century by Felice Michele di Piuvicliese Brancacci, a noble 
 Florentine. Its decoration was not completed until about eighty years later. This chapel was 
 dedicated to St. Peter, and in honour of him its walls were covered with frescoes, which are now 
 among the most important monuments of art remaining from the fifteenth century. The execution 
 of this work was commenced by Masolino; it was continued after his death by Masaccio, and 
 completed by Filippino Lippi. The great painters of the latter part of the fifteenth and the 
 whole of the sixteenth centuries, not excepting Michelangelo and Baphael, did not disdain to 
 study these frescoes, and to a certain extent form their style upon them; and the influence of 
 these remarkable works reached far beyond the century in which they were painted.f 
 
 * According to Vasari lie was born in 1417 and died in 1443, but contemporary documents of undoubted authenticity 
 furnish more trustworthy materials than the mere traditions used by that biographer. 
 
 t For a full description of these works, see Mr. Layard’s Notice of the Brancacci Chapel, published by the Arundel 
 Society, 1868. 
 
28 
 
 Descriptive Notice of the 
 
 OCCASIONAL PUBLICATIONS, 1861. 
 
 I. The Annunciation. A Chromo-lithograph, executed by Messrs. Storch and Kramer, 
 under the direction of Professor L. Gruner, from a water-colour Drawing by Signor 
 Mariannecci, after the Fresco by Pinturicchio in the Cathedral at Spello.* 
 
 II. Three Engraved Outlines of Heads in the Fresco of the Annunciation (one of them 
 being a portrait of the painter) traced from the originals. 
 
 FOURTEENTH YEAR (1862). 
 
 ANNUAL PUBLICATIONS. 
 
 I. Five Chromo-lithographs , executed by Messrs. Storch and Kramer, under the 
 direction of Professor L. Gruner, from water-colour Drawings by Signor Mariannecci, in 
 continuation of the series of Frescoes in the Brancacci Chapel in the Church of Santa 
 Maria del Carmine at Florence : viz.— 
 
 1. St. Peter and St. John healing a Cripple , and St. Peter raising Tabitha , after Masolino da 
 Panicale. 
 
 2. Head from the Fresco of the Raising of Tabitha, on the scale and in exact imitation of the 
 original. 
 
 3 and 4 (on one sheet). St. Peter in Prison visited bg St. Paul, and St. Peter delivered 
 from Prison, after Filippino Lippi. 
 
 5. Head from the Fresco of St. Peter in Prison, on the scale of the original fresco. 
 
 II. St. Stephen distributing Alms. A Copper-plate Engraving by Herr Schaffer, from 
 a Drawing by M. Kupelwieser, in continuation of the series of Frescoes by Fra Angelico in 
 the Chapel of Nicholas Y. in the Vatican. 
 
 Masolino da Panicale. According to Vasari, Masolino was horn in 1403, in the town of 
 Panicale of Valdelsa, in the Florentine territory, and died in 1440; but it appears from reliable 
 documents in the Florentine archives that Masolino was the son of one Cristoforo Fini, and that 
 lie was horn at Florence in the year 1383. His name was Tommaso, of which Masolino is the 
 diminutive. He studied painting under Stamina, an artist of some reputation. In 1428 he 
 painted some frescoes at Castiglione d’Olona, in Lombardy. He was chosen to decorate the 
 Brancacci Chapel, and executed several works in that place, hut the only subject now remaining 
 which can he assigned to Masolino is “The liaising of Tabitha. ”t The others must have been 
 
 * This fresco is to the left on entering the Baglioni Chapel. The composition is very simple, the subject being treated in 
 the conventional manner of the Umbrian school. The Virgin, a most graceful figure, stands before a high reading-desk and 
 rests one hand upon an open hook. The kneeling angel, delivering his holy message, is one of the noblest figures of this class 
 that Pinturicchio ever painted. The Almighty above, supported by cherubim, sends the mystic dove towards the Virgin. 
 In the background is an arcade, the columns of which are ornamented with arabesques. To the right, beneath a window, is 
 represented, as suspended to the wall in a frame, the portrait of the painter. 
 
 These chromo-lithographs are now out of print and no longer sold by the Society. 
 
 f Vasari describes this fresco as “ St. Peter releasing his daughter Petronilla from her infirmity.” The manner, however, 
 in which the subject is treated would hardly agree with the Roman legend, and it is more probable that the painter chose for his 
 subject an incident described in Scripture, rather than an apocryphal and little-known story. 
 

 

 OCCASIONAL PUBLICATION: r i' ji. 
 
 

AN NU AL 1 'U C.LJC.YTIO N i . 
 
 1 
 
29 
 
 Publications of the A rundel Society. 
 
 upon the vault of the Chapel and in the lunettes, and were destroyed or concealed beneath the 
 comparatively modern decoration with which the upper part of the building is now covered- 
 According to Vasari, his too zealous study and the fatigues to which he perpetually subjected 
 himself so weakened his frame that his life was prematurely terminated, and his pupil Masaccio 
 was appointed to continue the work he had begun. Masolino would have been the leading painter 
 of the first part of the fifteenth century hut for the altogether exceptional artistic power of his 
 associate Masaccio. There is a picture in the Royal Gallery at Berlin attributed to Masolino; it 
 represents St. Helena standing on the sea-sliore, superintending the reception of corn for the 
 wants of the people. 
 
 Filippino Lippi. Born 1460. Died 1505. Vasari’s account of the parentage of Filippino 
 Lippi has been disproved by documentary evidence. He was not the son of Filippo Lippi, the 
 celebrated painter and Carmelite friar. Filippino was horn at Prato, near Florence. As a hoy 
 he was taught painting by Fra Filippo, and finished his studies under Fra Diamante. He was a 
 fellow-student of Sandro Botticelli, who was about his own age. His style is similar to that of 
 Botticelli, hut his works attained a richness and harmony never reached by Fra Filippo Lippi. 
 His heads are fine, and portraiture is frequently and beautifully used in his compositions. One 
 of the earliest works of Filippino Lippi was an altar-piece painted on panel in 1480, representing 
 “ The Vision of St. Bernard.” It was painted for the Chapel of Francesco del Pugliese at 
 Campara, outside one of the gates of Florence, and now placed in the Church of the Badia, within 
 the walls of that city. The Saint is seated, writing the Life of Christ, when the Virgin suddenly 
 appears, attended by a train of cherubs, and dictates his composition. The portrait of the donor, 
 who kneels in the corner, is awkwardly placed, and the figure of St. Bernard is unnaturally long; 
 hut, notwithstanding these defects, the picture is very charming, and is perhaps Filippino’s finest 
 easel-subject.* The frescoes in the Caraffa Chapel in the Church of Santa Maria sopra Minerva 
 at Borne, painted between 1489 and 1493, and those in the Chapel of the Strozzi family in the 
 Church of Santa Maria Novella at Florence, painted in 1500, are remarkable for the rich ornamental 
 decorations and arabesques introduced in the architecture. Amongst those in the Caraffa Chapel 
 is the allegorical representation of “ The Disputation of St. Thomas Aquinas.” The saint is seated 
 on a throne between the four Cardinal Virtues, defending the Church from the attacks of her 
 enemies, and lie tramples under foot a prostrate unbeliever. Before him stand discomfited the 
 heretics Arius, Sabellius, Averroes, and others.! Among Filippino’s best and most finished 
 historical works are those in the Brancacci Chapel. He completed the subject of “The Raising 
 of the King’s Son,” left unfinished by Masaccio at his death. He also painted the subjects 
 of “ St. Peter in Prison visited by St. Paul,” “ St. Peter delivered from Prison,” and “ The 
 Martyrdom of St. Peter.” 
 
 Filippino Lippi died suddenly of fever and quinsy whilst occupied in painting a picture for 
 the Church of the Annunziata at Florence. This picture, representing the Deposition from the 
 Cross, was finished by Pietro Perugino, and is now in the Academy of Fine Arts at Florence. 
 Filippino was held in high esteem by his fellow-citizens, and when his funeral passed through the 
 streets the shops were closed as a mark of respect. 
 
 * This subject, as a chromo-lithograph, formed part of the Second Annual Publications of the Society for 18G8. 
 f A copy of this fresco by Signor Mariannecci is among the Society’s collection of water-colour drawings. 
 
 I 
 
80 
 
 Descriptive Notice of the 
 
 OCCASIONAL PUBLICATIONS, 1862. 
 
 I. and II. Two Chromo-lithographs , executed by Messrs. Storch and Kramer, under 
 the direction of Professor L. Gruner, from water-colour Drawings by Signor Mariannecci : 
 viz.— 
 
 1. The Burial of St. Cecilia, a fresco by Prancesco Prancia in the Church of St. Cecilia at 
 Bologna. 
 
 2. The Madonna del Sacco, a fresco by Andrea del Sarto in the cloister of the Convent of the 
 Annunziata at Plorence. 
 
 III. An Alphabet of Capital Letters , selected from the illuminations of Italian Choral 
 Books of the fifteenth and sixteenth centuries. Engraved in outline, with the letter F. 
 (attributed to Fra Angelico) printed in colours. 
 
 IY. A Plaster-Cast, from a reduction in Alabaster by Mr. Cheverton, of the Head of 
 one of the Horses of Night, from the eastern pediment of the Parthenon, now forming part 
 of the Elgin Collection in the British Museum.* 
 
 Prancesco Prancia. Born 1450. Died 1517. The family name of this painter was 
 Baibolini. His father, Marco di Giacomo ftaibolini, was a carpenter of Bologna. Prancia was 
 the name of a goldsmith to whom Prancesco was apprenticed; hence he was called II Prancia.t 
 He was celebrated for the execution of dies for coins and medals, and at the age of forty he took 
 to painting. He was one of the best artists of the latter part of the fifteenth century, and equal 
 in rank with Perugino; hut in Prancia the sentimentality of Pcrugino is moderated without any 
 deficiency of deep and fervent feeling. His talents first excited attention from a picture executed 
 in 1490 for the Pelicini family, and placed in the Church of La Misericordia, after which he 
 executed some important works for Giovanni Bentivoglio of Bologna. Prancia was chiefly 
 excellent as an oil-painter, hut the frescoes in St. Cecilia, at Bologna, are among his best works. 
 They are scenes from the history of St. Cecilia; hut the Marriage and the Burial of the Saint are 
 the most remarkable.^; Since their publication by the Arundel Society the originals have, by 
 neglect and ill-usage, fallen into ruin and decay. Prancia was an intimate friend and admirer of 
 Raphael; but there does not appear to be any good foundation for the story that envy of his 
 friend’s superior talents hastened liis death. A fine example of Prancia’s oil-painting is now in 
 the National Gallery, and was formerly in the ducal palace of Lucca. It represents Christ lying 
 dead on the lap of the Virgin. 
 
 * The Chariot of Night sinking into the Ocean at the moment when that of the Sun was rising in the East terminated 
 the composition on one side of the pediment. The original marble is of the finest possible workmanship, and its surface has 
 been very little injured. The size of it is 1 foot 8 inches in height by 2 feet 9 inches in breadth, and the reduction is to the 
 scale of one-third. 
 
 t It is remarkable how large a number of Italian painters were originally goldsmiths. Amongst them may be mentioned 
 Orcagna, Verocchio, Sandro Botticelli, Ghirlandaio, and Andrea del Sarto. Other names might be added, as Luca della 
 Robbia, Ghiberti, &c. 
 
 f St. Cecilia, A irgin and Martyr, a.d 230. The legend of this Saint relates, that she was a Roman lady of good family, 
 a patroness of music, and the inventor of the organ. When very young she was forcibly compelled to marry Valerian, a 
 young patrician, whom she converted, together with his brother Tiburtius and their friend Maximus. They were all persecuted 
 and suffered martyrdom. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

 OCCASIONAL PUBLICATIONS, 18^. 
 
 
 
Publications of the Arundel Society. 
 
 31 
 
 Andrea del Sarto. Born 1188. Died 1530. His father, Andrea Vannucclii, was a tailor 
 (in Italian sarto), lienee the appellation by which he was known, and has since become celebrated. 
 At the age of seven he was apprenticed to a goldsmith, but, having displayed great talent in 
 drawing, he became the pupil of Piero di Cosimo, and afterwards associated himself in work with 
 Prancia Bigio. Ilis skill as a draughtsman won for him the title of “ Andrea senza errore,” 
 and he obtained the reputation of being the best “frescante,” or painter in real fresco, in Italy. 
 The circumstances of his life were unfortunate, and his own acts foolish and even criminal. The 
 well-known type of his female heads is no way derived from the ideal, but merely a generalizing 
 of one individual, supposed to be his capricious and tyrannical wife, through whose bad influence 
 much of his trouble and disgrace was caused. In 1518 he visited Prance on the invitation of 
 Prancis I. who intrusted him with some money for the purchase of certain pictures and sculpture. 
 Andrea returned to Italy for that purpose, but the persuasions of his wife had more power than 
 the faith he had pledged to the king, and he squandered the money which had been placed in his 
 hands on his own pleasures, and from a highly-eminent position he sank to the very lowest. The 
 unhappy circumstances of his life prevented him from reaching the highest excellence in art; but 
 he would have been, under more favourable conditions, unsurpassed in power, versatility, and 
 truth; yet he was without the mental and moral grandeur that would have made him a great 
 imaginative painter. Andrea’s earliest works are the frescoes in the court of the Compagnia dello 
 Scalzo at Plorence. Those that remain are in chiaroscuro, and represent the history of St. John 
 the Baptist.* Among Iris best works are the frescoes in the court of the SS. Annunziata at 
 Plorence. These consist of five subjects from the history of San Pilippo Benizzi. One of them 
 excels the rest in beauty : the subject is, Children healed by touching the garment of the Saint.t 
 Also in the same place are The Nativity of the Virgin and The Procession of the Magi, published 
 by the Society in 1866 and 1868. In the Nativity, one of the two female figures in the foreground 
 wearing the Plorentine habit is said to be the portrait of Andrea’s wife, Lucrezia del Pede. The 
 Procession of the Magi also contains three portraits : the first, a full-length figure looking at the 
 spectator, is Jacopo Sansovino, the architect and sculptor; the second, who is leaning on him, 
 and pointing forwards with one arm foreshortened, is Andrea himself; and the head seen in profile 
 behind Jacopo Sansovino is that of the musician Ajolle, of whose madrigals Baldinucci and 
 Benvenuto Cellini speak with admiration. 
 
 The fresco of the Madonna del Sacco, executed in 1525, is in the same convent over a 
 doorway. It represents a simple Holy Pamily, in which Joseph is leaning on a sack. This is 
 one of the most celebrated and widely-known works of the artist. He received only ten crowns 
 for painting this fresco. 
 
 Another very important fresco was painted by Andrea (in 1526-7) in the refectory of the 
 Convent of St. Salvi, near Plorence. $ It represents the Last Supper, and in its arrangement 
 resembles Leonardo da Vinci’s great fresco, although wanting the grandeur of conception in that 
 artist’s work. It is among the most animated, whether as regards design or colour, ever executed 
 by Andrea, who has imparted grace and majesty to all the figures. It is in a very good state of 
 preservation. Its excellence formed the safeguard of the building in which it is placed during 
 the siege of Plorence in 1529. It was so much admired that the soldiers were not permitted to 
 destroy the convent, as they were doing with the other edifices in the suburbs of the city. The 
 easel-pictures of Andrea are too numerous to be mentioned in this notice. 
 
 * One of these subjects, “ St. John Preaching,” is among the Society’s collection of drawings. 
 
 f This subject is also among the collection of drawings. It will, as a chromo lithograph, form part of the Second Annual 
 Publications for 1869. 
 
 f A copy of this fresco is among the Society’s collection of drawings. 
 
32 
 
 Descriptive Notice of the 
 
 The Alphabet of Capital Letters has been selected from the examples in the well-known 
 choral books in the Church of the Convent of St. Mark at Florence, in the Duomo at Florence, 
 and in the Public and Piccolomini Libraries at Siena. Fra Angelico’s first efforts are said to 
 have been in minature illuminations; and Vasari speaks of the choral-books in St. Mark’s at 
 Florence, and others in St. Domenico at Fiesole, embellished by him. Those, however, which are 
 preserved at St. Mark’s were probably only designed by Fra Angelico and executed by his elder 
 brother, Benedetto da Mugello, who was Prior of the Dominicans in Fiesole. The date of these 
 books is 1439. The date of the other examples in this collection is from 1423 to 1530, and the 
 originals were executed by Giovanni di Paolo di Neri, Liberate da Verona, Frate Benedetto di 
 Maestro Paolo Rinaldi, and others. Among the Society’s collection are several coloured drawings 
 of letters from which the outlines were taken. 
 
 FIFTEENTH YEAR (1863). 
 
 ANNUAL PUBLICATIONS. 
 
 I. Five Chromo-lithographs , executed by Messrs. Storch and Kramer, under the 
 direction of Professor L. Gruner, from water-colour Drawings by Signor Mariannecci, in 
 continuation of the series of Frescoes in the Brancacci Chapel at Florence : viz.— 
 
 1. St. Deter and St. Paul raising the King's Son, and the Homage to St. Peter, after 
 Masaccio and Filippino Lippi.* 
 
 2. Head from the Fresco of the King's Son, on the scale and in exact imitation of the original. 
 
 3 and 4 (on one sheet). St. Peter and St. John healing the Siclc by their Shadows, and St. 
 Peter and St. John giving Alms, after Masaccio. 
 
 5. Head from St. Peter and St. John giving Alms, on the scale and in exact imitation of the 
 original fresco. 
 
 IT. St. Stephen thrust out before his Martyrdom, a copper-plate Engraving by Herr 
 Schaffer, from a drawing by M. Kupelwieser, in continuation of the series of frescoes by 
 Fra Angelico, in the Chapel of Nicholas V. in the Vatican. 
 
 * The subject of this fresco is taken from an apocliryphal incident in the Life of St. Peter related in the Golden Legend. 
 Theophilus, King of Antioch, having cast the Apostle into prison, St. Paul interceded in his behalf, and represented to the 
 king that Peter could raise the dead. Theophilus asked that his son, who had been dead fourteen years, should be restored to 
 life. St. Peter having been brought out of his prison prayed over the body of the boy, who returned to life ; and, from 
 witnessing this miracle, Theophilus and his subjects were converted to Christianity. In the right-hand corner of the fresco a 
 second incident is represented. St. Peter is seated on a throne, and, before him, kneeling or standing are various figures. 
 Masaccio died before this fresco was completed, and many years afterwards it was finished by Filippino Lippi. 
 

 
ANNUAL PUBLICATIONS. 
 
 Fifteenth Year (1863). 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 * 
 
 
 
 
 
ATION'S, 1863. 
 
 OCCASIONAL PUBLIC 
 

 
 
 
 
 
 
 
 
 

Publications of the Arundel Society. 
 
 33 
 
 OCCASIONAL PUBLICATIONS, 1863. 
 
 Six Chromo-Lithographs , executed by Messrs. Storch and Kramer, under the direction 
 of Professor L. Gruner, and (excepting Nos. 5 and 6) from water-colour Drawings by 
 Signor Mariannecci: viz.— 
 
 1. The Annunciation, after the fresco by Pra Angelico on the outer wall of the range of cells 
 in the Convent of St. Mark at Florence.* 
 
 2. St. Augustine Teaching, one of the series of frescoes by Bcnozzo Gozzoli at St. Gemignano, 
 near Voltarra, in Tuscany. 
 
 3. The Conversion of Hermogones the Sorcerer by St. James the Greater, one of the series of 
 frescoes by Andrea Mantegna, in the Church of the Eremitani at Padua. 
 
 4. The Marriage of St. Cecilia, after the fresco by Francesco Francia, in the Church of St. 
 Cecilia at Bologna. 
 
 5 and 6. Illuminated Capital Letters C and L, from the choral books in the Piccolomini 
 Library at Siena. Painted by Liberale da Verona and Frate Benedetto di Maestro Paolo Binaldi. 
 They represent St. Laurence before his martyrdom, and the Miracle of the Loaves and Fishes. 
 
 Benozzo Gozzoli. Born 1424. Died about 1500. Benozzo di Lose di Sandro, called from 
 personal characteristics Gozzoli, was the most distinguished scholar of Fra Angelico, and acted as 
 his assistant at Orvieto. He was a contemporary of Mclozzo da Forli, with whom, by early 
 writers, he was sometimes confounded. His earlier works display the peculiarly gentle style of 
 his master, but afterwards he differed widely from Fra Angelico, and developed a forcible and 
 natural style, but not of great dramatic power. lie had a lively sense of the beauty of the 
 material world, and showed, for the time in which he lived, a very extraordinary skill in the 
 treatment of the accessory parts of Iris paintings, as the landscapes, the architecture, and the 
 birds and animals introduced, of which the dogs are particularly excellent. His principal 
 works are a series of admirable frescoes in the Campo Santo at Pisa, commenced in 14G9, and 
 representing in twenty-four compositions the history of the Old Testament from the time of 
 Noah to the visit of the Queen of Sheba to Solomon. Pictures on wood by Benozzo are rare, and 
 greatly inferior in every quality of good painting to his frescoes. The National Gallery possesses 
 two examples of this painter, both in tempera. The frescoes in the Hiccardi Chapel at Florence 
 are full of delicate and beautiful fancies. The series of frescoes at St. Gemignano, a little city 
 on the road from Florence to Siena, painted about 14G7, display the entire development of 
 Benozzo’s peculiarities, and are, perhaps, even more interesting from their careful execution and 
 pleasing composition than his better-known works at Pisa. They illustrate the history of St. 
 Augustine, Bishop of Hippo, f Benozzo died at Pisa, where he was long looked upon with great 
 consideration, as much for his excellent qualities as for the distinction to which he had attained 
 in art. 
 
 * At the bottom of this composition the painter has written in Latin, “ Hail Mother of Love, Mary, noble seat of the 
 whole Trinity ! ” and below, “ When thou comest before this figure of the spotless Virgin, take heed in passing that the Ave 
 be not unsaid.” Inside one of the cells at St. Mark’s Convent is another Annunciation. The Virgin is kneeling, the angel 
 stands before her, and behind him, outside the portico, is seen St. Peter Martyr. 
 
 f St. Augustine was born in the year 354, his mother Monica being an earnest Christian, his father a Pagan. He was 
 possessed of great talents, but in his youth was a votary of pleasure. At Milan, where he was professor of philosophy and 
 rhetoric, he was thrown in the way of St. Ambrose, who converted him. He was ordained priest, and shortly afterwards 
 
 K 
 
34 
 
 Descriptive Notice of the 
 
 Andrea Mantegna. Born 1430. Died 150G. lie was the son of a poor farmer living near 
 Padua, and was employed to tend sheep. The stories of Giotto and Mantegna are somewhat 
 similar. At the age of ten he attracted the attention of Prancesco Squarcione, who adopted and 
 educated him. Squarcione, more distinguished as a teacher than an artist, surrounded his pupils 
 with the best models of antiquity, which he had collected from the remains of ancient art in 
 Italy and Greece, and the character of Mantegna’s works displays the effect of his education. 
 Mantegna was the ablest painter of his time in North Italy, excepting perhaps Giovanni Bellini, 
 and his influence affected almost all the schools. Ilis style is hard and severe, hut his drawing is 
 correct, and his execution most careful. The celebrated scries of tempera pictures on paper fixed 
 to cloth, known as “ Caesar’s Triumph,” now at Hampton Court Palace, were considered the 
 masterpieces of Mantegna. These drawings, nine in number, were commenced about 1487, and 
 finished in 1492, for Prancesco Gonzaga, for the Palace near the Monastery of St. Sebastian, at 
 Mantua. They were brought to England by Duke Carlo in the reign of Charles I., who 
 purchased them; they were sold, it is said, under Cromwell for 1,000/. hut were afterwards 
 recovered by the Crown. Unfortunately these works have suffered much by restoration, very 
 little of the originals remaining. The frescoes in the Church of the Eremitani at Padua display 
 all the orginality of the painter, with very great perfection of workmanship, and a technical skill 
 far surpassing anything previously known. “ Here it was that Mantegna, assisted by other 
 scholars of Squarcione, painted the Chapel of St. James and St. Christopher, the whole left side 
 with the life of St. James being his work, as well as the last picture in the history of St. 
 Christopher—the martyrdom of the Saint. Art here assumes the garb of the most living reality, 
 the story being no longer symbolically expressed, hut entirely told. The forms are complete in 
 colour, foreshortening, chiaroscuro, and perspective: the single figures also, in order to bring them 
 as near life as possible, bear the features of contemporary personages.”* In the fresco of the 
 Martyrdom of St. Christopher, Mantegna, among others, painted the portrait of his master 
 Squarcione—the figure of a corpulent soldier clothed in green, having a spear in one hand and a 
 sword in the other. In the same work he painted his own likeness, supposed to be the young 
 soldier, with a spear in his hand, who stands close to St. Christopher in the Martyrdom.! 
 
 Mantegna was one of the first Italian painters who practised the art of engraving. lie also 
 distinguished himself as a sculptor, poet, and architect. Ilis second son, Erancesco, was also a 
 painter, assisted his father, and completed his unfinished works at his death. 
 
 Andrea, from the excellence of his paintings, won the distinction of being celebrated by 
 Ariosto; who, in the commencement of his thirty-third canto, enumerates him among the most 
 illustrious painters of his time, as thus :— Leonardo , Andrea Mantegna , Gian Lellino. 
 
 chosen Bishop of Hippo. One of the drawings from the frescoes at St. Geniignano represents a vision which he himself relates 
 as occurring to him. While he was walking one day on the sea-shore meditating on the mystery of the Trinity, he saw a 
 child filling a hole in the sand with water baled out of the sea ; in answer to an inquiry from the saint, the child, replied, “ I 
 wish to empty the sea into this hole ; ” the saint replied, “ Child it is impossible; ” and the child, who was the Infant Jesus, 
 said, “ Not more impossible than to comprehend what you are now meditating upon,” and immediately vanished. In addition 
 to the subject published, the Society possesses in its collection five other drawings from this series. 
 
 * Kugler’s Handbook of Italian Painters. 
 
 t Drawings of all the subjects are among the Society’s collection; two of them, from scenes in the Life of St. James the 
 Greater, have been published as chromo-lithographs. St. James the Apostle, a.d. 43, was called the Greater, either because he 
 was nmch older than the other James, or because our Lord conferred upon him some peculiar honours and favours. He was 
 beheaded at Jerusalem by order of Herod the Great, and was the first of the apostles who obtained the crown of martyrdom. 
 St. Christopher, according to the legend, was a giant of great stature and strength, and after many marvellous acts suffered 
 martyrdom. A full description of the events which these pictures depict will be found in Mrs. Jameson’s work on Legendary 
 Art. 
 

ANNUAL PUBLICATIONS. 
 Sixteenth Year (1864). 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 * 
 
 
 
 
 
 
 
 
OCCASIONAL PUBLICATIONS, 1864. 
 

 
 
 
 
 
 
 

Publications of the Arundel Society. 
 
 35 
 
 SIXTEENTH YEAR (186 4). 
 
 ANNUAL PUBLICATIONS. 
 
 I. Two Chromo-Lithographs , executed by Messrs. Storch and Kramer, under the 
 direction of Professor L. Gruner, from water-colour Drawings by Signor Mariannecci, 
 after the fresco by Bernardino Luini at Saronno : viz.— 
 
 1. The Presentation in the Temple. 
 
 2. Head of Joseph, from the foregoing subject, on the scale and in exact imitation of the 
 original fresco. 
 
 II. Saint John. An Engraving by Mr. Stoelzel, from a drawing by M. Kupelwieser, 
 in continuation of the series of frescoes by Fra Angelico, in the Chapel of Nicholas Y. in 
 the Vatican. 
 
 III. The Conversion of Said. An Engraving by Professor L. Gruner, from a drawing 
 by Signor Consoni, after the tapestry in the Vatican designed by Raphael.* 
 
 OCCASIONAL PUBLICATIONS, 1864. 
 
 Three Chromo-Lithographs , executed by Messrs. Storch and Kramer, under the 
 direction of Professor L. Gruner, and (excepting No. 3) from water-colour Drawings by 
 Signor Mariannecci: viz.— 
 
 1. The Coronation of the Virgin, after the fresco by Fra Angelico in one of the cells of the 
 Convent of St. Mark at Florence.! 
 
 2. Christ Disputing with the Doctors. In continuation of the series of frescoes by Bernardino 
 Luini at Saronno. 
 
 3. Illuminated Capital Letter D, from a choral hook in the Piccolomini Library at Siena, 
 painted by Liberate da Verona, and representing Christ’s entry into Jerusalem. $ 
 
 * Of the ten cartoons originally drawn by Raphael and his scholars (1513 and 1514) as copies for the tapestries now in 
 the Vatican, three are lost: viz. The Stoning of Stephen ; The Conversion of Saul; and St. Paul in his Dungeon at Philippi ; 
 the others are now at the South Kensington Museum. Engravings of the first-mentioned two of the missing subjects have 
 been published by the Society (1864 and 1867) from very careful drawings, in the possession of Mr. Thomas Longman, made 
 from the tapestries. These tapestries were worked in wool, silk, and gold, and hung in the Sistine Chapel at Rome in 1519, 
 the year before Raphael died. The cartoons, which were drawn with chalk upon strong paper and coloured in distemper, 
 remained neglected in the warehouse of the tapestry manufacturer at Arras, and were seen there by Rubens, who advised 
 Charles I. to purchase them for the use of a tapestry manufactory at Mortlake. On the death of Charles, Cromwell bought 
 them for the nation for 300/. 
 
 f This subject is depicted in a most exquisite manner. Christ and the Virgin are in glory. He holds a crown over her 
 head. Below are six saints wrapt in ecstacy : they are St. Paul, St. Thomas, St. Francis, St. Benedict, St. Dominic, and 
 St. Peter Martyr. 
 
 ! Liberate da Verona, who flourished during the latter part of the fifteenth century, was not a painter of very great 
 importance. He holds a middle place between the manner of Giovanni Bellini and Andrea Mantegna, in whose schools he is 
 supposed to have studied. An Adoration of the Kings in the Duomo, and some frescoes in St. Anastasia, at Verona, together 
 with a St. Sebastian in the Brera Gallery at Milan, are among his best works. 
 
36 
 
 Descriptive Notice of the 
 
 SEVENTEENTH YEAR (18 6 5). 
 
 ANNUAL PUBLICATIONS. 
 
 I. St. Sixtus giving Money to St. Laurence for Alms. An Engraving by Herr Schaffer, 
 from a drawing by M. Knpelwieser, in continuation of the series of frescoes by Fra 
 Angelico in the Chapel of Nicholas V. in the Vatican.* 
 
 II. Five Ckrorno-Lithographs, by Mons. C. Schultz, after water-colour Drawings 
 executed by himself from the triptych painted by Hans Memling in the Hospital of St. 
 John at Bruges : viz.— 
 
 1. The Adoration of the Magi. 
 
 2 and 3 (on one mount). The Nativity and The Presentation in the Temple. 
 
 4 and 5 (on one mount). St. John the Baptist and St. Veronica .f 
 
 III. A Notice of Hans Memling and his Works , by W. H. James Weale. 
 
 Hans Memling, sometimes called Memlinc, was married and established at Bruges as a 
 well-to-do citizen in 1479, if not earlier; hut the date and place of his birth are alike uncertain. 
 He died about the year 1493. The statements about his poverty and destitution, and his seeking 
 shelter (in the year 1477) in the Hospital of St. John at Bruges as a sick soldier, appear, from 
 authentic documents discovered in the archives of Bruges, to he wholly unworthy of credit. 
 He is said by Vasari to have been the pupil of Roger de la Pasture, who is better known by the 
 name of Van der IVeyden. The works of Memling, though inferior in colour and force of 
 expression to those of the other great painters of the Flemish school of the fifteenth century, are 
 superior to them all in religious sentiment and in delicacy of delineation. Although of different 
 schools there is a certain similarity of genius displayed in the works of Fra Angelico and 
 Memling. Among the principal works of this painter are,—the small shrine of St. Ursula, on 
 which the adventures of the saint with her martyr-virgins are delineated in a series of miniatures; 
 the large altar-piece of the Marriage of St. Catherine; the large altar-piece in the Cathedral at 
 Lubeck; and the triptych reproduced by the Society, dated 1479. This last may be considered, 
 as far as colour is concerned, Memling’s masterpiece. The figure kneeling on the right is the 
 donor, John Floreins. The man with the beard and orange cap, looking in on the left, is said to 
 be the portrait of Memling. 
 
 In the gallery at Munich is a grand altar-piece called the Seven Joys of the Blessed Virgin. 
 Several of Memling’s works are now in England ; amongst them is a very fine triptych belonging 
 to the Duke of Devonshire, painted in 1471. 
 
 * St. Sixtus, having refused to deliver to the Roman prefect Decius the treasures of the church, is about to be led to 
 prison. He is represented with three attendants within the cloister of a church committing a purse to St. Laurence. Without 
 are two soldiers knocking at the door. 
 
 I According to the legend (which is now rejected by the Roman Catholic Church) St. Veronica was the woman cured by 
 touching the hem of our Saviour’s garment, and who, when He was toiling with His cross up to Calvary, wiped the drops of 
 perspiration from His forehead with her veil, which was afterwards found to he stamped with a likeness of His features, which 
 likeness was styled the “Vera Icon,” or true image. St. Veronica is always represented holding a cloth with the sacred 
 features on it. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 ANNUAL PUBLICATIONS. 
 
 Seventeenth Year (1865). 
 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Publications of the Arundel Society. 
 
 37 
 
 Memling was also an excellent miniature painter. There is a miniature by him in the Breviary 
 now at the Library of St. Mark’s at Venice. This is a rich and most beautiful specimen of 
 miniature painting, and was probably executed for Mary of Burgundy, daughter of Charles the 
 Bold. 
 
 OCCASIONAL PUBLICATIONS, 1805. 
 
 Three Chromo-lithographs, executed by Messrs. Storch and Kramer, under the direction 
 of Professor L. Gruner, from water-colour Drawings by Signor Mariannecci: viz.— 
 
 1. St. James the Greater before the Tribunal of Ilerod Agrippa, one of the series of Prescocs 
 by Andrea Mantegna in the Church of the Eremitani at Padua. 
 
 2. The Marriage of the Virgin. In continuation of the series of Prescoes by Bernardino 
 Luini at Saronno. 
 
 3. St. Peter delivered from Prison, after the Presco by Raphael in the Stanza of the 
 Heliodorus in the Vatican. 
 
 Raphael, or Raffaello Santo, or Sanzio, called II Pi vino, was born at Urbino, 1483. lie 
 died in 1520. lie was the only son of Giovanni Sanzio, an excellent painter of the Umbrian 
 school, who died when Raphael was eleven years of age. After his father’s death he studied with 
 Pietro Perugino at Perugia. Raphael’s training as an artist had already far advanced when his 
 father died. The influence of Giovanni is very visible in the earliest of his son’s works, painted 
 when he was still Perugino’s scholar. In 1502 he was employed at Siena in assisting Pinturicchio 
 (an elder pupil of Perugino) in designing some of the frescoes in the library at Siena. In 1504 
 he went to Plorence, and until 1508 was much in that city, where he contracted a special friendship 
 with Pra Bartolommeo, associating in work with that religious enthusiast. During this period he 
 emancipated himself from the confined manner of Perugino’s school, and rapidly improved in 
 technical skill. Ilis most excellent works at this time were, the picture representing the Marriage 
 of the Virgin, now in the Brera Gallery at Milan, and the celebrated Madonna del Granduca. 
 Raphael’s first fresco was painted in 1505 in San Severo at Perugia. It is in a lunette; Christ is 
 in the centre, with the dove of the Iloly Spirit above, and two angels beside him. Over the 
 group is God the Pather; on each side, somewhat lower than the middle group, are three saints 
 seated. This fresco is now very much damaged. About the middle of the year 1508, Raphael, 
 then in his twenty-fifth year, was invited to Rome to decorate the state apartments of Pope 
 Julius II. in the Vatican. These consist of four principal rooms, and are designated after the 
 most remarkable frescoes which they contain. The first painted (1509-11) was the Stanza della 
 Segnatura. It contains the “ Theology ” (called also “ La Disputa del Sacramento ”); the 
 “ Philosophy,” or the School of Athens; with “ The Poets on Mount Parnassus,”* and “ Juris¬ 
 prudence.” On the ceiling are four round pictures, in which are represented Poetry, Theology, 
 Philosophy, and Jurisprudence, personified by female allegorical figures throned in the clouds, and 
 characterized by symbols as well as by form and expression, f 
 
 * A copy of this subject is among the Society’s collection of water-colour Drawings ; it represents an assembly of the great 
 Greek, Roman, and Italian poets of all ages to Raphael’s time, grouped on Mount Parnassus, with Apollo and the Muses under 
 laurel trees in the centre. It will be published in 1873. 
 
 | These subjects are among the Society’s chromo-litliographs, 
 
 L 
 
38 
 
 Descriptive Notice of the 
 
 The next in order was the Stanza of the Heliodorus, commenced in 1512 ; the ceiling contains 
 four subjects from the Old Testament. The great pictures are— 
 
 1. The Expulsion of Heliodorus from the Temple at Jerusalem; when, as treasurer to the 
 Syrian king Seleucus, lie attempted to plunder the Temple (2 Maccabees, iii.). Heliodorus lies 
 prostrate under the hoofs of a horse, on which sits a figure in golden armour; near him two 
 youths rush forward to scourge the despoiler of the Temple. 
 
 2. The Mass of Bolsena, representing a miracle said to have taken place in the year 1263 
 under the pontificate of Urban IV. A priest who doubted the doctrine of transubstantiation was 
 convinced by the blood which flowed from the host he was consecrating.* 
 
 3. Attila induced to desist from his hostile enterprise against Tome. 
 
 4. The Deliverance of St. Peter from Prison. This subject (which is published in cliromo- 
 lithography by the Society) contains three different periods of the event: 1. The Angel awakening 
 Peter. 2. The Angel leading him through the sleeping Guards. In both these representations 
 the figures are illuminated by the beams of supernatural light which proceed from the angel. 
 3. The Guards alarmed. This group receives its light from the moon and the soldiers’ torches. 
 The painting is particularly celebrated for the picturesque effect of the various lights contrasted 
 against the darker parts. It is one of the earliest night-pieces painted by the Italian artists, and 
 its masterly treatment has secured the author the lasting admiration of the world. The subject 
 is supposed to contain an allusion to the captivity of Leo X., who had been liberated only the year 
 preceding his elevation to the pontificate. He had been made prisoner after the battle of Ravenna 
 in 1512, when as cardinal legate he was defending the interests of the holy see under Julius II., 
 and his deliverance was regarded as miraculous. 
 
 It may be interesting to note the fact, that, at the time Raphael painted the Stanza of the 
 Heliodorus, Michelangelo completed his great series of frescoes on the ceiling of the Sistine 
 Chapel, f 
 
 The works of the third room, the Stanza del Incendio, are inferior to the rest, and the 
 assistance of pupils is very apparent. The subjects are : the Lire in the Borgo; the Victory at 
 Ostia; the Oath of Leo III.; Charlemagne crowned by Leo III. 
 
 The fourth room, the Sala di Constantino, was the last painted; it was executed after 
 Raphael’s death by his scholars Giulio Romano and Gianfrancesco Penni, from his drawings. 
 
 In 1512 Raphael painted a fresco representing the Prophet Isaiah and two angels in the 
 church of St. Agostino at Rome. This was an attempt to rival the style of Michelangelo; but the 
 result was not favourable to Raphael, it being one of his feeblest works. The Pour Sibyls, 
 painted during 1514, in Santa Maria della Pace, can be favourably contrasted with the Sibyls by 
 Michelangelo. Each work displays the peculiar excellence of its master; in the one is seen 
 serene and ingenuous grace, in the other grandeur, profound and sublime. 
 
 Prom the year 1513 Raphael executed — besides many Madonnas and Holy Pamilies, portraits 
 and other less important works — the series of the Vatican Loggie; the “ St. Cecilia ” at Bologna; 
 the “ Madonna di San Sisto ” at Dresden ; the “ Spasimo ” at Madrid ; the “ Transfiguration ” in 
 the Vatican; the “ Galatea ” and other frescoes of the Pamesina; and the designs for the ten 
 tapestries, seven of which are now at South Kensington. lie was overwhelmed with commissions, 
 and it was doubtless owing to his multifarious occupations that his brilliant career was so 
 prematurely terminated. He died of a short and violent fever at the age of thirty-seven. 
 
 There were few departments in art in which Raphael did not excel. About nine hundred 
 paintings and drawings of various kinds are attributed to him ; and, in addition to these, he 
 
 * Copies of tliis and the preceding subject are among the Society’s collection of drawings. 
 
 t Four subjects representing single figures of prophets and sibyls from the triangular compartments at the springing of 
 the vault of this ceiling are among the Society’s collection of water-colour drawings. 
 

 
 
 
vNUAL PUBLICATIONS. 
 
 EIGHTEENTH Yl AR (lS66). 
 

 
 
 
 
 
 
 J 
 
 
 \ 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
Publications of the Arundel Society. 
 
 39 
 
 directed the buildings at St. Peter’s from his own plans, and executed other architectural works. 
 During the latter years of his life he superintended the disinterring and preserving the remains of 
 art buried beneath ancient Pome. lie did not even neglect sculpture. One of the finest statues 
 of modern Pome, the Jonah in the Cappella Chigi, in Santa Maria del Popolo, is, with good 
 proof, ascribed to him. 
 
 Art in Italy may be said to have reached its highest perfection during the fife of Paphael; 
 but, his numerous pupils and followers not having the strength nor the transcendental qualities 
 of mind of their master, from his death may be dated the stagnation—if not the decadence— 
 of Italian Art. 
 
 EIGHTEENTH YEAH (1866). 
 
 ANNUAL PUBLICATIONS. 
 
 I. The Last Supper. A Chromo-lithograph, executed by M. Hangard-Mauge, under 
 the direction of M. C. Schultz, from his Drawing after the Fresco by Domenico Ghirlandaio, 
 in the Church of the Ognissanti, at Florence.* 
 
 II. The Adoration of the Magi. A Chromo-lithograph, executed by Messrs. Storch 
 and Kramer, under the direction of Professor L Gruner, from a water-colour Drawing by 
 Signor Mariannecci; concluding the series of Frescoes by Bernardino Luini at Saronno.f 
 
 OCCASIONAL PUBLICATIONS, 1866. 
 
 I. The Nativity of the Virgin. A Chromo-lithograph, executed by M. Lemercier, 
 under the direction of M. C. Schultz, from a Drawing by him after the Fresco by Andrea 
 del Sarto, in the Cloister of the Convent of the Annunziata, at Florence. 
 
 II. The Annunciation. A Chromo-lithograph, after the Fresco by Fra Bartolommeo 
 in the Villa of the Frati di San Marco, near Florence. 
 
 III. The four Sibyls. A Chromo-lithograph, after the Fresco by Paphael in the 
 Church of Santa Maria della Pace, at Rome.J 
 
 Fra Bartolommeo di San Marco. Born 1469. Died 1517. His real name was Baccio 
 della Porta (Bat of the Gate), so called from living many years near the gate of San Piero 
 
 * This fresco is frequently mistaken for another “ Last Supper ” by Ghirlandaio in the Convent of St. Mark, which is 
 treated in a very similar manner. In both of them Judas is seated by himself at the front of the table, but in the fresco at 
 St. Mark’s the figure of a cat is introduced as sitting on the ground behind Judas, and St. John is reclining his head quite on 
 the table in front of our Lord. The fresco in the Ognissanti is the much finer work of the two. 
 
 j- Of the four frescoes by Luini at Saronno this is the most beautiful in composition. The Virgin is seen seated outside a 
 stable on some architectural ruins—symbolizing the destruction of Paganism by the advent of the Saviour. In her arms is the 
 Infant Jesus, who is holding out his hands as if to welcome the Magi, two of whom kneel before him. In the background are 
 richly-dressed pages and attendants, with camels and horses bearing the gifts to be presented. Above in the sky is a most 
 beautiful group of boy-angels looking down on the event which is taking place. 
 
 + Both this and the foregoing subject were executed in chromo-lithography by Messrs. Storch and Kramer, under the 
 direction of Professor L Gruner, after drawings by Signor Mariannecci. The fresco of the Four Sibyls occupies the space over 
 

 40 
 
 Descriptive Notice of the 
 
 Gattolini. He was a Florentine by birth, studied under Cosimo Roselli, and was the friend and 
 fellow-pupil of Mariotto Albcrtinelli. From his earliest years he appears to have been a religious 
 enthusiast; and when his friend Savonarola was put to death in 1498 he forsook his profession, 
 took the vows, and became a Dominican friar. He remained in seclusion nearly six years, and, it 
 is said, never touched a pencil until Raphael came to Florence and re-awakened in his mind the 
 love of art. During his friendship with that artist he greatly enlarged and improved his style, 
 while Raphael benefited by his instructions in colouring. The works of Fra Bartolommeo are 
 dignified, and sometimes even approach grandeur; but they are chiefly remarkable for their 
 truth and power of expression (resulting from the religious tendency of his mind), and con¬ 
 sequently far superior to the mere sentimentality of later masters. He is said to have been the 
 first painter who used the wooden lay figure for the purpose of studying drapery. Among his 
 masterpieces are—a fine figure of St. Mark, now in the Pitti Falace at Florence; the Madonna 
 della Misericordia in the Church of San Romano and the “ Virgin with an Angel playing on a 
 Lute ” in the church of San Martino, both at Lucea, which are particularly worthy of notice ; 
 and the “ Presentation in the Temple,” at Vienna. Of the frescoes of Fra Bartolommeo but few 
 remain. There is an interesting but much injured one in a chapel of Santa Maria Nuova at 
 Florence representing the Last Judgment. Albcrtinelli is said to have assisted in this work. In 
 the villa of the Frati di San Marco, a house belonging to the Dominican monks, a short distance 
 from Florence, there are an “ Annunciation ” and “ Christ and Mary Magdalene in the Garden.’’ 
 In a corridor over a doorway of the refectory in the Convent of St. Mark is the subject of “ Jesus 
 and his two Disciples at Emmaus.” There has been lately discovered in an ancient convent in 
 the valley of Mongnone, near Florence, a most beautiful fresco by Fra Bartolommeo repre¬ 
 senting the Virgin and Child, which is worthy of the genius of Raphael. It was removed in 
 1868 to the chamber of Fra Bartolommeo in the Convent of St. Mark. The fresco was in good 
 preservation up to the time of its removal; but it lias been much injured by the change, having 
 received many stains occasioned by the dampness of the new walls.*' 
 
 ail arch in one of the side chapels of the church above mentioned. It is a work of Raphael’s best time (1514). The idea of 
 the subject was derived from the ancient mythical prophetesses called “ Sibyllas.” They had previously been represented by 
 Michelangelo as separate figures on the ceiling of the Sistine Chapel. In Raphael’s design, naming them from left to right of 
 the fresco, they are the Cunuean, Persian, Phrygian, and Tiburtine. The angels holding the tablets to be written on or read by 
 the Sibyls are remarkable for the beauty and variety they add to the composition. 
 
 * Copies of this and the three preceding subjects arc among the Society’s collection of water-colour drawings. The 
 “ Annunciation,” as already described, has been published in chromo-lithography. The “ Virgin and Child ” will be published 
 as an occasional or extra chromo-lithograph during the autumn of 18G9. The “ Meeting at Emmaus” will be included among 
 the First Annual Publications for 1870. 
 

 OCCASIONAL PUBLICATIONS, i860. 
 


 'AL PUBLICATION 
 
 Nineteenth 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Publications of the Arundel Society. 
 
 41 
 
 NINETEENTH YEAR (1867).* 
 
 FIRST ANNUAL PUBLICATIONS. 
 
 I. Tiro Chromo-lithographs, executed by Messrs. Storch and Kramer, under the 
 direction of Professor L. Gruner, from water-colour Drawings by Signor Mariannecci: 
 viz.— 
 
 1. St. John the Baptist Breaching , after the fresco by Domenico Ghirlandaio in the Church 
 of Santa Maria Novella at Florence. 
 
 2. llie Ecstacy of St. Catherine, after the fresco by Bazzi in the Chapel of St. Catherine in 
 the Church of St. Domenico at Siena.f 
 
 II. The Martyrdom of St. Stephen. An Engraving by Professor L. Gruner, from a 
 Drawing by Signor Consoni, after the Tapestry in the Vatican designed by Raphael. 
 
 Gianantonio Bazzi, known as Bazzi, and also as It Sodoma. Both names are corruptions, 
 the first arising from an early misprint, and the name Sodoma appears to have been a conversion 
 from his family name of Sodona, also spelt Sogdona. He was horn at Vercelli in Piedmont 
 about 1477, and died at Siena in 1549, where he had settled early in life. Vasari describes Bazzi 
 as a man of joyous life and cheerful manners, a lover of pleasure and horse-racing, and ever 
 ready to contribute to the amusements of others, even though it were not always in the most 
 creditable manner, for which cause he obtained the name of Mattaccio , or the arch fool. When 
 young he married; but his wife, weary of the follies committed by her husband, at length 
 refused to live with him, and he died at last, miserably reduced in circumstances, in the hospital 
 at Siena. He acquired great distinction in that city as a painter, his works possessing much of 
 the grace and tenderness of Leonardo da Vinci and Francesco Francia. His earliest productions 
 are a series of well-preserved frescoes in the convent of St. Ulvieto Maggiore, between Siena and 
 Rome, which lie completed in 1502. He afterwards painted the Miracle of the Loaves and 
 Fishes, in the refectory of the neighbouring convent of Santa Anna. These works extended his 
 reputation to Rome. He was employed by Julius II. to decorate the galleries of the Stanze in 
 the Vatican, but his paintings there, with the exception of some arabesques and ornamental work, 
 were obliterated to make place for those of Raphael. In an apartment of the upper story of the 
 Farnesina are painted the Marriage of Alexander with Roxana and Alexander in the Tent of 
 Darius, which are remarkable for the beauty and grace of the female forms. Siena is rich in the 
 works of Bazzi, and among the finest are the two frescoes in the chapel of St. Catherine of the 
 Church of San Domenico, painted in 1526. They are on each side of the altar, and both are 
 double compositions. In one the painter has represented God the Father with the Madonna and 
 Infant Saviour, surrounded by lovely angels, appearing to St. Catherine. In the other (the lower 
 half only of which has been reproduced in the chromo-lithograph) the Saint is in a swoon or 
 ecstacy, supported by two nuns, and receiving the stigmata. The Saviour is represented above. 
 The figure of a person fainting has never been depicted with more truth and perfection than in 
 this painting.:{: 
 
 * The scheme of issuing two series of annual publications during the year commenced in 1867. 
 
 f This subject is now out of print, and can no longer be supplied. 
 
 J Saint Catherine of Siena was bora in 1347. At an early age she took the veil and was admitted into the Dominican 
 order. Her austerities and fasting obtained for her the reputation of extraordinary sanctity; while her alleged visions caused 
 her to be regarded with superstitious veneration. She died in 1380, and was canonized by Pope Pius II. in 1461. 
 
 M 
 
42 
 
 Descriptive Notice of the 
 
 Another work of great merit is tlie series of frescoes in the Oratory of San Bernardino at 
 Siena, illustrating the history of the Virgin, in which Jacopo Paccliiorotto, a contemporary of 
 great repute, assisted Bazzi. Also in the Church of San Prancesco, “ The Deposition from the 
 Cross,” and another, “ The Scourging of Christ,” originally in the cloister of the same church, but 
 now tranferred to canvass and placed in the Academy of Arts at Siena. This last is a most 
 exquisite composition, and is interesting on account of Bazzi having introduced his own portrait, 
 that of the figure with the shaven beard and long hair. His works are principally in fresco, hut 
 few easel-pictures in oil having been executed by him. Bazzi is far less known than he deserves 
 to be, standing as he does on a level with the great masters of the sixteenth century. Paolo 
 Giovio (the historian of the age) in an eulogium on Raphael compares Bazzi with that painter. 
 
 SECOND ANNUAL PUBLICATIONS, 1867. 
 
 Two Chromo-lithographs , executed by Messrs. Storch and Kramer, under the direction 
 of Professor L. Gruner, from water-colour Drawings by Signor Mariannecci : viz.— 
 
 1. Zacharias naming his Son John, after the fresco by Domenico Ghirlandaio in the Church 
 of Santa Maria Novella at Plorence. 
 
 2. Toetry, after the Presco by Raphael on the ceiling of the Stanza della Segnatura in the 
 Vatican. 
 
 OCCASIONAL PUBLICATION, 1867. 
 
 Theology. A Chromo-lithograph, by Messrs. Hanhart, from a Drawing by Signor 
 Mariannecci, after the Fresco by Raphael on the ceiling of the Stanza della Segnatura in 
 the Vatican. 
 
 The allegorical female figures on the ceiling of the Stanza della Segnatura represent Theology, 
 Poetry, Philosophy, and Jurisprudence, and have reference to the four great compositions on the 
 walls of the hall. The subjects are on a golden ground in imitation of mosaic. Theology, 
 surmounting “ The Dispute of the Sacrament,” is seated on clouds, with boy-angels by her side 
 holding tablets inscribed with the words Terum divinarum notitia. She holds a closed book in 
 one band, and with the other points towards the earth, implying that the knowledge of divine 
 things is denied to its inhabitants. Poetry, surmounting the picture of “ Parnassus,” is seated on 
 a throne, holding in one hand a lyre and in the other a book, supposed to contain the works of 
 Homer, the prince of poets. The tablets held by the angels at her side have inscribed upon them 
 Numine afflatur. The four angles of the ceiling between these figures represent subjects connected 
 with the large compositions and also the allegorical figures above them; thus, to Theology is 
 placed Adam and Eve, and to Poetry the Punishment of Marsyas by Apollo. It is said by Vasari 
 that the decorations on the ceiling of the Stanza della Segnatura are the remains of a work by 
 Bazzi, and that Raphael merely substituted new figures in the divisions between the arabesques 
 and ornaments. 
 

i.) ‘j.'vt 
 
 OCCASIONAL PUBLICATION, 1867. 
 
 SECOND ANNUAL PUBLICATIONS. 
 First Year (1867). 
 
THE DfiANCACOI CHAPEL 
 
 
 M WH.IM* UAMM Itt A\|> nulVIVt l.ll'I'J 
 
 . J 
 
 FIRST ANNUAL PUBLICATIONS. 
 
 Twentieth Year (jS68). 
 
 
 
 
 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Publications of the Arundel Society. 
 
 43 
 
 TWENTIETH YEAR (1868). 
 
 FIRST ANNUAL PUBLICATIONS. 
 
 I. The Adoration of the Lamb. A Chromo-lithograph of the centre lower panel of 
 the large altar-piece by the brothers Van Eyck, in the Cathedral of St. Bavon at Ghent, 
 executed by M. Hangard Mange, under the superintendence of Mons. C. Schultz, from a 
 Drawing made by himself. 
 
 II. St. Peter and St. Paul before the Proconsul Felix, and the Martyrdom of St. Peter. 
 A Chromo-lithograph after the Fresco by Filippino Lippi, in the Brancacci Chapel of the 
 Church of the Carmine at Florence, executed by Messrs. Storch and Kramer, under the 
 direction of Professor L. Gruner, from a Drawing by Signor Mariannecci.* 
 
 III. A Notice of the Brancacci Chapel , and of the Lives and Works of Masolino, 
 Masaccio, and Filippino Lippi, by A. H. Layard, M.P. 
 
 Hubert Van Eyck and John Van Eyck were the founders of the Flemish School of painting, 
 and the inventors of, and first to practise, the improved oil painting, as distinguished from the 
 previous method in vogue of tempera or distemper. Germany and the Netherlands were much 
 behind in the art of painting, as up to the end of the fourteenth century it was principally li mi ted 
 to the illumination of outlines; but, when that realistic feeling to express a spiritual meaning 
 (by depicting the forms of real life in a natural manner) was completely developed, a true revival 
 of the arts took place among the Teutonic nations. The Netherlandish or Flemish school, which 
 previously had been the most advanced, was the first to feel entirely that enthusiasm for Art and 
 Christianity which in Italy had already resulted in painting having reached a high degree of 
 perfection. 
 
 Oil-painting, so far as the term may be understood by using colours mixed with boiled oil, 
 was practised as far back as the early part of the thirteenth century in this and other countries of 
 Europe. The process was limited to wood panels, because it was necessary to dry each coat of 
 paint in the sun, or by the aid of some other strong heat. This frequently led to the wood panels 
 being split, and it is said that Hubert Van Eyck, in consequence of such an accident, was led to 
 make experiments for the purpose of discovering a medium which would dry in the shade. One 
 success led to another. He invented a good drying varnish; and then improving this by a process 
 which rendered it nearly colourless, he was able to use it at once with opaque as well as transparent 
 colours. The exact nature and qualities of the vehicle used by the Van Eycks, which was a kind 
 of oil-varnish, is not now known. According to Vasari the process of oil-painting was introduced 
 into Italy by Antonello, a young painter of Messina, who acquired the method in 1442 from 
 Lambert Van Eyck, a younger brother of the two others. Hubert Van Eyck, the eldest brother, 
 was born in 1366, probably at Maaseyck, near Maestricht. He died at Ghent in 1426. He was 
 the instructor of his brother John and his sister Margaret, who assisted him in his works, and 
 perfected the discovery he had made. There are now but few productions that can with certainty 
 be attributed to Hubert excepting the whole of the upper part of the altar-piece in the Church 
 of St. Bavon at Ghent. Two others are supposed to be by his hand: one, now in the National 
 Museum in Santa Trinidad at Madrid, represents the Triumph of the Christian Church over the 
 Synagogue by the sacrifice of Christ; the other, now in the Gallery at Naples, is that of St. Jerome 
 extracting a thorn from the paw of the lion. 
 
 John Van Eyck, the second brother, and the most celebrated of the family, was born about 
 1396. He died at Bruges in 1441. The earliest picture known to be by John Van Eyck is one 
 in the collection of the Duke of Devonshire, at Chatsworth, dated 1421. It represents the 
 
 * This subject concludes the publication of the series of frescoes in the Brancacci Chapel. 
 
44 
 
 Descriptive Notice of the 
 
 consecration of Thomas Becket as Archbishop of Canterbury. In 1422 John Van Eyck entered 
 the service of Philip the Good, Duke of Burgundy, and so gained his confidence as to he sent on 
 several important missions. In 1428 he went to Portugal with the embassy appointed to solicit 
 the Princess Isabella in marriage for the Duke, and returned with her to Bruges in 1429. Three 
 fine pictures painted by John are in the National Gallery, two being portraits, and another, 
 entitled “A Plemish Lady and Gentleman,” probably representing the painter and his wife. The 
 date of these pictures is 1432-1434. 
 
 The large altar-piece or polyptych, which the brothers painted at Ghent, was executed 
 for Judocus Vyts, Seigneur of Pamele and Burgomaster of Ghent, and his wife Elizabeth, of the 
 then distinguished family of Burlut, for their mortuary chapel in the Cathedral of St. Bavon, and 
 was completed in 1432, six years after the death of Hubert Van Eyck. This was in its own day 
 the most important work that had then been executed in oil-colours; and in the technical method 
 employed it may be doubted whether any improvement upon it has ever been made. It consists 
 of several panels, and comprises two principal pictures one above another, with hinged double 
 wings painted inside and outside. The upper centre picture (of three panels) represents Christ, 
 the second person of the Trinity, in-glory as God, enthroned, with the Virgin and St. John the 
 Baptist seated on either side, reading holy books and turned towards the centre figure. On the 
 interior of the adjoining wings are represented St. Cecilia playing the organ on one side, and a 
 group of eight singing angels on the other. At tho extremities on each side are Adam and Eve, 
 the representatives of fallen man. Over the panels are small subjects in chiaroscuro : the Sacrifice 
 of Cain and Abel, and the Death of Abel. The lower central picture shows the Mystic Lamb 
 (Agnus Dei) on an altar; angels are in front worshipping the Lamb, and from the sides advance 
 four groups of martyrs, male and female, and priests and laymen. The two principal groups 
 represent the Christian and the Jewish Churches. In the foreground is the fountain of life; in 
 the distance the towers of the heavenly Jerusalem. On the wings which adjoin the Adoration of 
 the Lamb the subjects are groups of Warriors and Judges approaching on one side, with Hermits 
 and Pilgrims led by the giant St. Christopher on the other, depicting those who have laboured for 
 the Kingdom of the Lord by worldly deeds, and those who through self-denial and renunciation of 
 earthly goods have served him in the spirit. When the two wings are closed over the centre, the 
 upper part represents the Annunciation with the prophets Micah and Zechariah, and two Sibyls 
 above; on the lower part are portraits of Judocus Vyts and his wife, with their patron Saints, 
 St. John the Baptist and St. John the Evangelist, the two latter painted in chiaroscuro.* 
 
 The parts of this fine work are now dispersed, the originals of the two centre-pieces alone 
 remaining at Ghent. The originals of the wings are in the Berlin Museum, with the exception of 
 the two panels of Adam and Eve, which are at Brussels. The Arundel Society possesses a copy 
 of the entire altar-piece made by Mons. Schultz from the original pictures. On the framework is 
 the following inscription, the last line being a chronogram, and fixing the date of the work:— 
 
 Pictor Hubertus e Eyck, major quo nemo repertus, 
 
 In cep it: pondusque Johannes arte secundus 
 
 Frater perfecit, Judoci Vijd preco fretus. 
 
 .VersV seXta MaI Vos CoLLoCat aCta tVER l.f 
 
 * The eight panels forming the inner and outer parts of the lower wings are included among the First Annual Publications 
 for 1869. The upper centre picture of three panels will be issued in the First Publications for 1870; and the entire work 
 completed in 1871. 
 
 j The literal translation of this inscription is as follows : — 
 
 “ The painter Hubert Van Eyck, a greater one was never found, 
 
 Began, and his second brother John completed, 
 
 The work—at the instance of Judocus Vyd— 
 
 On the 6th May of the year 1432 these pictures were completed.” 
 
 The date is made up from the capital letters, thus: M.CCC.LL.X.VVW. 11=1432. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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Publications of the Arundel Society. 
 
 45 
 
 Lambert Van Eyck, a third brother, was also a painter. A triptych painted in 1455, now 
 belonging to the family of Van dcr Schrick at Louvain, is attributed to him. It is also not 
 improbable that two of the minor panels in the Ghent altar-piece, representing the two Sibyls and 
 the prophet Zechariali, which are the weaker portions of the great work, were by Lambert. 
 Margaret Van Eyck is said to have been a skilful miniature painter, and assisted her brothers in 
 their paintings. She died in 1432. 
 
 SECOND ANNUAL PUBLICATIONS, 1868. 
 
 Two Chromo-lithographs, executed by Messrs. Storcli and Kramer, under the direction 
 of Professor L. Gruner, from water-colour Drawings by Signor Mariannecci: viz.— 
 
 1. The Vision of St. Bernard , after the Painting by Eilippino Lippi in the Badia at Elorence. 
 
 2. The Procession of the Magi on their way to Bethlehem, after the Eresco by Andrea del 
 Sarto in the cloister of the Church of the Annunziata at Elorence. 
 
 St. Bernard was born in 1091 at Eontaine in Burgundy. Erom his earliest youth he was a 
 religious enthusiast, and at the age of twenty entered the Cistercian Monastery near Dijon. 
 This religious order was noted for its austerities, and Bernard’s piety was so eminent that he was 
 selected to be the head of a new abbey at Clairvaux in Champagne. In a few years his name 
 became famous throughout the Christian world. He obtained celebrity not only as a monk and 
 abbot, but also as a counsellor, writer, agitator, and saint. He drew up statutes for the famous 
 Order of the Templars, and gave them a body of wise counsels. His eloquence incited the King 
 and nobility of Erance in 1146 to a new Crusade, predicting great successes, which were however 
 falsified. He died in 1153, and was canonized by Pope Alexander III. in 1174. He was 
 remarkable for his devotion to the Virgin; and, his health being extremely feeble, it was said that 
 when writing his famous homilies from the Song of Solomon, setting forth the divine perfections 
 of the Virgin, she appeared and strengthened him by her presence. 
 
 The subject of the Vision of St. Bernard was a favourite one among the early painters. In 
 the example of this event by Eilippino Lippi, St. Bernard is writing in a desert seated at a desk 
 formed by the stump of a tree. The Virgin stands before him attended by angels, one of whom 
 holds up her robe. On the rock behind him is inscribed his motto, Sustine et abstine (Bear and 
 forbear). The demon, signifying heresy, is chained to the rock behind St. Bernard, and there are 
 some monks in the background. The figure of the Virgin is noble, and the boy-angels singularly 
 beautiful. 
 
 N 
 
WESTMINSTER: 
 PRINTED BY NICHOLS AND SONS, 
 25 , PARLIAMENT STREET. 
 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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