SCIENCE AND ART DEPARTMENT OF THE COMMITTEE OF COUNCIL ON EDUCATION, SOUTH KENSINGTON MUSEUM. DYCE COLLECTION. A' CATALOGUE OF THE PAINTINGS, MINIATURES, DRAWINGS, ENGRAVINGS, RINGS, AND MISCELLANEOUS OBJECTS BEQUEATHED BY THE REVEREND ALEXANDER DYCE. LONDON: PRINTED BY GEORGE E. EYRE AND WILLIAM SPOTTISWOODE, PRINTERS TO THE QUEEN’S MOST EXCELLENT MAJESTY. FOR HER MAJESTY’S STATIONERY OFFICE. MDCCCLXXIV. Digitized by the Internet Archive in 2016 https://archive.org/details/dycecollectioncaOOsout DYCE COLLECTION PAINTINGS, MINIATURES, DRAWINGS, ENGRAVINGS, RINGS, AND MISCELLANEOUS OBJECTS. 25991a. A SCIENCE AND ART DEPARTMENT OF THE COMMITTEE OF COUNCIL ON EDUCATION, SOUTH KENSINGTON MUSEUM. DYCE COLLECTION, A CATALOGUE OF THE PAINTINGS, MINIATURES, DRAWINGS, ENGRATINGS, RINGS, AND MISCELLANEOUS OBJECTS BEQUEATHED BY THE REVEREND ALEXANDER DYCE. LONDON: PRINTED BY GEORGE E. EYRE AND WILLIAM SPOTTISWOODE, PRINTERS TO THE QUEEN’S BIOS! EXCELLENT MAJESTY. FOR HER MAJESTY’S STATIONERY OFFICE. MDCCCLXXIV. SI V NOTE. This catalogue refers to the Art portion of the Collection bequeathed to the South Kensington Museum by the Reverend Alexander Dyce, the well-known Shakespearian scholar, who died May 15, 1869. A companion volume contains a catalogue of the remainder of the Bequest, the printed books and manuscripts. The following is an extract from Mr. Dyce s will : — “ This is the last will of me, the Rev. Alexander Dyce, of Oxford Terrace, Paddington, Middlesex. As to all my books, works of art, and other such effects, I dispose of them as herein-after specially mentioned. And I appoint my friends, John Forster, of Palace Gate House, Kensington, esquire, and William Macpherson, of Lancaster Gate, esquire, executors of this my will. As to my collection of books and works of art, consisting of the whole of my rare and valuable and other books, and of my pictures, paintings, drawings, miniatures, antique rings, and curiosities, and all my printed books and manuscripts, and any other effects which may, in the opinion of my executors, come under the description of works of art or articles of vertu (the same being herein-after described as “ my said collection”) I give the same in maimer following, in which I have had regard to the gift of the Sheepshanks collection of pictures and works of art, which I desire generally to follow, that is to say, I give and bequeath my said collection unto the Member of Her Majesty’s Government for the time being charged with the promotion of art education now undertaken by the Department of Science and Art as the ex-officio trustee thereof, upon the following terms and conditions, viz. : — “1. That such ex-officio trustee do within six months from the probate of my will sign a memorandum of the acceptance of the trustee- ship, and deliver the same to my executors, and to be by them copied on the probate of my said will, with a memorandum to be signed by them of such acceptance. “ 2. That a proper and sufficient separate room or gallery in or near to the public buildings built, or to be built, for the Department of Science and Art, now called the South Kensington Museum, or elsewhere, be set apart or provided for the purpose of holding my said collection (to be called “The Dyce Collection ”), and that my said collection be deposited and kept in such room or gallery. “ 3. The right of property in, and possession of, my said collection shall be solely in the ex-officio trustee for the time being, but subject to the conditions herein-after expressed, and to be and remain always under his control, and he shall be the sole arbiter of any question that may arise touching the management or disposition thereof under this my will. . “ 4. My said collection shall be used for reference and instruction, and shall be exhibited to the public at such times and under such regu- lations as the ex-officio trustee shall prescribe, and so soon as arrange- ments can be properly made by him for that purpose ; but no part of my VI said collection shall ever be sold or exchanged or be dealt with contrary to the true spirit and meaning of the use, disposition, and control thereof herein prescribed ; the books to be the subject of special care and preservation, and never to be lent or removed from the collection. “ 5. My said collection, or the conditional bequest thereof hereby made, shall not be subject to the provisions of the Act of the 19 & 20 Victoria, cap. 29., intituled ‘An Act to extend the Powers of the ‘ Trustees and Directors of the National Gallery, and to authorize the ‘ Sale of Works of Art belonging to the Public,’ or to any future enactment of the legislature which but for this declaration to the con- trary shall or may have the effect of placing my said collection under any other care or ordering than is herein prescribed, or would otherwise alter or interfere with the disposition thereof hereby made. And in case of such interference on the part of the legislature, or if the terms and conditions as herein expressed be not strictly adhered to (subject as after mentioned), or in case the said bequest should not be accepted as aforesaid, then and in either of such cases the gift thereof hereby made shall wholly cease, and my said executors or the ex-officio trustee for the time being, as the case may be, shall thereupon hold my said collection in ti’ust for the University of Cambridge, to be added to and for ever thereafter form part of the Fitz-William Collection of the said university. “ 6. The ex-officio trustee (or university aforesaid, as the case may require) shall provide for the payment (by Government or out of any funds available or to become available for the purpose) of the Govern- ment legacy duty which may become payable on the said collection, and also for so much and such part of the duty on the probate of this my will as shall be payable in respect of the estimated value of my said col- lection so hereby given for the purposes aforesaid, this provision being necessary as my general estate is otherwise of small comparative amount or value. n In testimony whereof I have to this my will, written on six sheets of paper, set my hand, this Ninth day of March, in the year of our Lord One thousand eight hundred and sixty-nine.” CONTENTS. Page Paintings and Miniatures. By Samuel Redgrave - 1 Drawings. By George William Reid. Introduction - - - - - -13 Catalogue - - - - - - 25* Prints and Etchings. By George William Reid. Introduction - - - - - - 137 Catalogue - - - - - -145 Rings and Miscellaneous Objects. By Charles C. Black 302 Index ------- 309 CATALOGUE. PAINTINGS, MINIATURES, &c. Oil Paintings . — The strength of Mr. Dyce’s valuable bequest to the Department of Science and Art does not lie in the portion included in this section, which is in its nature of a very miscel- laneous character. The collection was made apparently as objects offered themselves, and without any special design. Many of the paintings are probably by artists whose works would not entitle them to posthumous repute, and their names have been lost. To other paintings great names have in some instances been given, which can hardly he accepted ; yet it is right to say that the collection includes several good works by painters of eminence, and some which, on special grounds other than their art-merit, are objects of general interest. Miniatures . — The Miniatures include works of the chief continental schools, with some good examples of the early English miniaturists. Of these works it is still more difficult to speak than of the oil pictures. They are almost exclusively unnamed, and it is only by some traditionary name, either of the artist or the person he represented, that these particulars could in most instances be supplied ; and, except in the few instances where names have been given, it would be almost guess-work to attempt identification. The collection is largely composed of small works in oil of the Dutch and Flemish schools ; but it no less includes some works of the distinguished English artists Samuel Cooper, Isaac Oliver, and Thomas Flatman, with some others of recent date, whose characteristic manner has warranted the addition of their names. Sam. Redgrave. [ The number at the end of each description is that under which the object is registered in the Museum.~\ 9 Oil Paintings, ANDREA YANNUCCHI, called DEL SARTO. Born at Florence in 14S8, died in 1530. Portrait of Lucretia Fede. Small half length life size. Canvas, 21 in. by 16 in. 1 2 PAINTINGS. GIOVANNI DA PONTE. The Annunciation. Panel, GG in. by 244 in. 2 PEETER BREUGHEL, the younger, called “HELL” BREU- GHEL (ascribed to). Born in 1569, died in 1625. An Incantation Scene. An original work ; the accessories carefully painted. Panel, 18f in. by 14f in. 3 ROELAND SAVERY. Born at Courtray in 1576, died at Utrecht in 1639. A Group of Flowers, signed and dated 1G21. Panel, 9^ in. by 7f in. 4 CORNELIS JANSSENS (attributed to). Born at Amsterdam in 1590, died in 1665. Portrait Head of Dr. John Donne, Divine and Poet. B. 1573, D. 1631. Canvas, circular, 24 iu. diam. 5 PIETRO FRANCESCO MOLA. Born in the Milanese in 1609, died at Rome in 1665. Hagar and Ishmael ; the angel appearing. Canvas, 37 in. by 43 in. 6 AART VAN DER NEER (ascribed to). Born at Amsterdam in 1619, died at Antwerp in 1683. Moonlight, river scene, with vessels and distant village. Panel, 13 in. by 19^ in. 7 PHILIP DE KONINGH (ascribed to). Born at Amsterdam in 1619 ; died in 1689. Landscape, with Cathedral and distant Villages. Canvas, 21 in. by 27 in. 8 JAN VAN DER MEREN, the younger. Born at Haarlem in 1665, died in 16S8. Landscape Composition, with shepherdess and her flock. Panel, 3f in. by of in. 9 MARGARETHA WULFRAAT. , Born in Holland in 1678, died about 1738. Females at the Bath. . Canvas, 22^ in. by 31f in. 10 SIR ANTONY VANDYCK, Knt. Born at Antwerp in 1598, died in London in 1641. Small full-length Portrait in armour. An oil sketch on paper, 12| in. by 8 in. 11 PAINTINGS. 3 SIR GODFREY KNELLER, Bart. Born at Lubeck in 1648, died near Twickenham in 1723. Portrait Head of himself. Oval. Canvas, 21 in. by 17i in. 12 JONATHAN RICHARDSON, the elder. Born in 1665, died in London in 1745. Portrait Head, life-size, of Alexander Pope, Poet, b. 1688, d. 1744. Canvas, 25| in. by 20^ in. 13 THOMAS WORLIDGE. Bom in 1700 ; died at Hammersmith in 1766. Portrait of David Garrick, as Tancred. Canvas, 23£ by 19|- in. 1 4 RICHARD WILSON, R.A. (ascribed to). Born in Wales in 1714, died in Wales in 1782. A River Scene, with figures and ruined castle in the mid- distance. Canvas, 16 in. by 19^ in. 15 A Landscape Composition, Mountain and Lake Scene, with Figures and Ruined Abbey. Canvas, 25J in. by 35 \ in. 16 SIR JOSHUA REYNOLDS, P.R.A. Born at Plympton in 1723, died in London in 1792. Portrait of a Lady (supposed to be Miss Reynolds, the painter’s sister), life size, half length, unfinished. Canvas, oval, 20 J in. by 21 in. “ 17 The Entrance to Mr. Thrale’s Park, at Streatham, a sketch. Canvas, 10f in. by 15^ in. 18 THOMAS GAINSBOROUGH, R.A. Born at Sudbury in 1727, died in London in 1788. Portrait Head of John Joshua Kirby, Author of Kirby’s Perspective and Surveyor of the Royal Works at Kew, b. 1716, d. 1774. Canvas, 16^ in. by 11^ in. Formerly in the possession of Mrs. Trimmer, Kirby’s daughter. 19 SAMUEL SCOTT. Born in London about 1710, died at Bath in 1772. Scene on the Thames with Boats. The Strand shore and Westminster Bridge. Canvas, 18 in. by 27 in. 20 JOHN COLLET. Born in London in 1725, died in 1780. The Affiliation. Canvas, 17^ in. by 24 in. 21 GEORGE ROMNEY. Born at Dalton-le-Furness in 1734, died at Kendal in 1802. Serena. “ Sweet Evelina’s fascinating power.” Hayley’s Triumphs of Temper, Canto I. Canvas, 35 i in. by 27 in. 22 4 PAINTINGS. BENJAMIN WEST, P.RA. Born in Pennsylvania, U.S., in 1738, died in London in 1820. Saul and the Witch of Endor. A sketch for the picture. Canvas, 16£ in. by 33 in. 23 WILLIAM HAMILTON, R.A. Born at Chelsea in 1751 ; died in London in 1801. Portrait of Mrs. Siddons, tragic actress, b. 1755, d. 1831. Small full length. Water colour, 19f in. by 12£ in. Signed. 24 Portrait of Mrs. Siddons, as Jane Shore. Small full length. Water-colour, oval, 9£ in. by 6^ in. Signed and dated 1791. 25 JOHN OPIE, R.A. (attributed to). Born at St. Agnes, Cornwall, in 1761, died in London in 1807. Portrait Head, unfinished. Canvas, 20^ in. by 16| in. 26 THOMAS STOTHARD, R.A Born in London in 1755, died in London in 1834. Scene from Shakespeare’s Henry VI. (Pt. 3, Act v., sc. 5.) A sketch. Panel, 8^ in. by 6£ in. 27 Prospero and Miranda. — Tempest (Act i., sc. 2.) A sketch. Panel, 8|- in. by 5^ in. 28 Petrarch and Laura. Panel, 8| in. by in. 29 GEORGE MORLAND. Born in London in 1763, died in London in 1804. Winter Scene, with Female and Donkeys. A sketch. Panel, in. by 5 in. 30 Landscape and Cottage with Market-cart, Dog, &c. Canvas, 16 in. by 17| in. 3] GEORGE MORLAND (after). Beach Scene, with Boats, Boatmen, and Dogs. Canvas, 191 i n - by 25^ in. 32 SAMUEL DE WILDE. Born in 1747, died in 1832. Portrait of William Parsons, Comedian, b. 1736, d. 1795, in the “ Village Lawyer.” Water colour. Signed, and dated 1802. 9£ in. by 7 in. 33 Portrait of Mrs. Davenport as “ Dame Aslifield.” Water colour. Signed and dated, 1802. 9^ in. by 7 in. 34 Portrait of William Farren, Comedian, b. 1787, d. 1861, in the character of “ Lord Ogleby.” Small half length. Signed, lli in. by 9^ in. 35 PAINTINGS. 5 MICHAEL W. SHARP, Died in 1840. Portrait of Miss Duncan, afterwards Mrs. Davison, as “ Juliana ” in the Honeymoon. Small full length. Canvas, 1 1 1 in. by 8 in. • 36 WILLIAM ETTY, R.A. Born at York in 1787, died at York in 1849. Nude Female Sleeping. A study. Canvas, 9J in. by 12| in. 37 AMELIA HUME, LADY FARNBOROTJGH. Died in 1837. English Landscape, with aged female. Millboard, 9 in. by 13J in. 38 ROBERT WILLIAM BUSS. Born in London in 1804. Living in 1872. Portrait of Richard Bentley, D.D., Scholar and Critic. Born 1662, died 1742. Copy from the original at Trinity College, Cambridge. Small three-quarters. Canvas, 9-| in. by 7^ in. 39 Painters unknown. The Infant St. John ; a head. Fresco, 19 in. by 16 in. 40 The Infant St. John, sleeping, with angels hovering above him. Canvas, 15^ in. by 12^ in. 41 Saint Mary Magdalen. In the background the Crucifixion. Canvas, 51 in. by 40 in. 42 Portrait of a Gentleman, half length to knees. Panel, 12J in. by 9 5 in. An early Italian work. 43 Head of an Old Man, in the Dutch manner. Panel, 6^ in. by 5f in. 44 River Scene, with vessels; on the banks a large city and cathedral. Dutch School. A copy. Panel, 14f in. by 19 ^ in. 45 View in Holland ; river, with city on the banks, figures, &c. Canvas, 15^ in. by 25| in. 46 A Fete ChampEtre. A sketch after Antoine Watteau. Panel, 5 in. by 8 in. 47 Venus chastising Cupid. Panel, 12^ in. by 9| in. 48 Classical Subject, Warrior suspending his shield. Canvas, 45 in. by 57J in. 49 Courtship. Canvas, 37£ in. by 27£ in. 50 G PAINTINGS. The Elopement. Canvas, 18 in. by 15^ in. 51 Female at a Fountain. A study. Millboard, 23 in. by 16^ in. 52 A Young Girl, seated. Panel, 5£ in. by 4^ in. 53 The Prisoner. Oval ; copper, 1 2 in. by 9^ in. 54 Despair, a nude figure, surrounded by demons. Canvas, 1 1 in. by in. 55 Landscape. Rydal Bridge, Westmoreland. Canvas, 17 £ in. by 23^ in. 5G An English Landscape, with cottage and milk-maid in the foreground. Canvas, 9| in. by 7^ in. 57 Landscape, with cattle in the middle distance. Canvas, 14J in. by 20£ in. 58 Landscape with Cottage. Panel, 9f in. by 15f in. 59 Portrait Head ; life size. Gentleman wearing a ruff'. Time, James I. Canvas, 18| in. by 14i in. GO Female Head. Signed, C. H., 1G33. Panel, 5£ in. by 4J in. 61 Sketch in Monochrome of George Villiers, second Duke of Buckingham, when young ; from the picture at Windsor Castle, by Sir Ant. Vandyck. Canvas, 14 in. by 11 in. G2 Portrait of John Milton, Poet. Canvas, 13| in. by 11 in. On the back is written in an old hand, “ John Milton, Esq. “ Done after the Life, 1658, mt. 50.” The portrait is said to have come down in the family of Dean Bargrave, who was distinguished by his great loyalty in the time of Charles I. 63 Portrait Head of Matthew Prior, Poet, b. 1664, d. 1721. Oval. Canvas, 23 in. by 18^ in. 64 Portrait of a Gentleman, time of William III. Canvas, 10-| in. by 8^ in. 65 Portrait of a Lady. Time of Queen Anne. Small half length. Canvas, 10 in. by 8 in. 66 Portrait of a Gentleman, about 1750, small half length. . Canvas, oval, 1 1^ in. by 9£ in. 67 Portrait Head of Caleb Whitefoord, Wit and Satirical Poet; b. 1734, d. 1809. Canvas, 15^ in. by 13 in. 68 Portrait Head of Sir William Chambers, R.A., Architect; b. 1726, d. 1796. Canvas, 17 in. by 1G| in. 69 Portrait of David Garrick, Actor, b. 1716, d. 1779, as Don John. Panel, 1 7-2- i n - by 27 in. 70 PAINTINGS AND MINIATURES. 7 Portrait Head, life-size, of John Philip Kemble, Tragedian, b. 1757, d. 1823, in the character of Yincentio. Canvas, 20-|- in. by 16-| in. 71 Portrait of John Philip Kemble. Small half-length. Panel, 8f in. by 7-f- in. 72 Portrait of John Philip Kemble, as Coriolanus. Small whole length. Canvas, 59|- in. by 18 in. 73 Portrait of William Charles Macready, Tragedian, b. 1793, d. 1873, as Macbeth. Small whole length. Panel, 11^- in. by 9| in. 74 Portrait of John Philip Kemble as Richard III. Small whole length. Canvas, 21f-in. by 15-fin. 75 Portrait Head, life size, of Mrs. Siddons, Tragic Actress, b. 1755, d. 1831. Oval, canvas, 21f in. by 15f- in. 7G Portrait of a Lady. Probably Miss Brunton, Actress, about 1800. Small three-quarters length. Canvas, 10 in. by 8 in. 77 Portrait of Edmund Kean, Tragedian, b. 1787, d. 1833, as Richard III. Canvas, 93 in. by 57 in. 78 Portrait of Edmund Kean, as !< Sir Giles Overreach.” Canvas, 11 in. by 9 in. 79 Portrait of John Liston, Comedian, b. 1776, d. 1846, as Pompey in “ Measure for Measure.” Small half length. Panel, 9 in. by 7| in. 80 Portrait of an Actor [ ? Suett]. Small whole length. Oval, canvas, 21-1- in. by 17f in. 81 Portrait of a Gentleman in an English clerical dress. Panel, 7j in. by 6 in. 82 Portrait Head of a Young Man. Oval. Canvas, 20 in. by 16 in. 83 Portrait Head. Life-size sketch. Panel, 12|-in. by 9f in. 84 Miniatures. JOSEF RIBERA, called IL SPAGNOLETTO (ascribed to). Bom at Valencia in 1589, died at Naples in 1656. Portrait of “Le duc d’Olivarez, Ministre de Philipe 4,” b. 1587, d. 1645 ; painted in oil on panel, probably a miniature copy after Ribera. 85 DIEGO RODRIGUEZ DE SILVA Y VELASQUEZ (ascribed to). Born at Seville in 1599, died at Madrid in 1660. Portrait Head, in oil, of a Gentleman wearing a small ruff. On copper. 86 8 MINIATURES. ISAAC OLIVER. Born in 1556, died in London in 1617. Portrait of Francis North, First Baron Guilford, Lord Keeper to Charles II. B. 1G37, d. 1685. In ormolu frame. 87 PETER OLIVER. Bom in London in 1601, died in 1660. Portrait of a Lady. Costume time of James I. Signed P. 0. Case of the time, enamelled green, with white grotesque flowers. Loop set with diamond. 88 Portrait of Isaac Casaubon, Critic and Commentator, b. 1559, d. 1614. Small circular gilt case. Signed P.O. 89 SAMUEL COOPER. Born in London in 1609, died in 1672. Portrait of the Artist, painted by himself. Signed S. C., 1657. 90 Portrait of himself, drawn in chalk. Round the neck a lace kerchief tied with black ribbon. It is believed to have been in the Royal Collection at Kensington, and is supposed by Walpole to be by Jackson, a relative of Cooper, but is surely by the great Miniaturist himself. It is taken at a later period of life than the last miniature, but the likeness of the two is identical. 91 Portrait, said to be of the Painter’s Wife, but more probably of Lady Carew, of Antony. 92 Portrait of Edward Montagu, First Earl of Sandwich, Naval Commander, b. 1625, d. 1672. Signed, S. C. 1669. 93 Portrait of Eleanor Gwyn, Actress, Favourite of Charles II., d. 1687. * 94 THOMAS FLATMAN. Bora in London about 1633, died in London in 1688. Portrait of the Artist, by himself. Signed T. F. 1662. 95 Portrait of a Lady, with blue dress and pearl ornaments. 96 BERNARD LENS. Born in London in 1680, died at Knightsbridge in 1740. Portrait of Lady Jane Codd, when a child, in blue drapery, holding flowers. 97 Portrait of Colonel Kellet. 98 RICHARD COSWAY, R.A. Born at Tiverton in 1740, died in London in 1821. Portrait of Field-Marshal Conway, Soldier and statesman, b. 1720, d. 1795. 99 MINIATURES. 9 FRANQOIS HUET YILLIERS. Born in Paris, died in London in 1813, aged 41. Portrait of Madame Catalani, Italian singer, b. 1782, d. 1849, wearing a red head-dress. Signed and dated 1806. 100 ANDREW PLIMER. Died at Brighton in 1837, aged 74. Portrait of The Rt. Hon. William Windham, Statesman, in blue dress. B. 1750, d. 1810. 101 Portrait of The Rt. Hon. William Windham, in black dress. 102 Painter unknown (probably SOFONISBA ANGUISCIOLA). Portrait of Sofonisba Anguisciola, of Cremona, painter, b. 1533, d. 1620, holding a large circular enriched disc with the letters R. R. X. C., and round the edge a motto. Painted in oil. Frame square, ormolu with coral ornament. 103 Painters unknown. Portrait Head, in oil, of a Gentleman, with long hair, and wearing a lace collar, with bows of ribbon on the shoulders. On copper. Inscribed “Velasquez.” Probably after him. 104 Portrait, in oil, of a Gentleman wearing a large collar trimmed with lace. On copper. Labelled on back “ Velas- quez.” 105 Portrait, in oil, of a Gentleman in close doublet, and small lace collar. Apparently Spanish. On copper. 106 Portrait, in oil, of Marie de Medici, Queen of Henry IV. of France, b. 1573, d. 1642 ; pink dress embroidered with gold, and small lace ruff. On copper. Apparently Italian. 107 Portrait, in oil, of a Lady wearing a pearl necklace and lace - neck-kerchief. Probably Italian. 17th century. 108 Portrait, in oil, of a Lady wearing a pearl necklace. Probably Italian. 17th century. 109 Portrait, in oil, of a Lady in an early Italian embroidered costume. On copper. 110 Portrait, in oil, of a Cardinal, said to be the Cardinal de Bourbon, b. 1520, d. 1590. On copper. Ill Portrait Head, in oil, of a Gentleman wearing a red and white cravat. Probably French. Middle of 17th century. On copper. 112 35991a. B 10 MINIATURES. Portrait Head, in oil, well expressed. French. Middle of 18th century. On copper. 113 Portrait, in oil, apparently French, of a Gentleman, in a University costume. On card. 114 Portrait, in oil, of a Gentleman wearing, apparently, a French University dress. On back inscribed “ Jo. Evelyn.” On copper. 115 Portrait, in oil, of a Dutch Divine wearing a large hat. On copper. 116 Portrait, in oil, of a Dutch Divine. On copper. 117 Portrait Head, in oil, wearing a large hat. Probably Dutch. On copper. 118 Portrait, in oil. A Male Head with Beard and Lace Collar. Time of Elizabeth. 119 Portrait, in oil, of a Lady wearing a large lace double ruff. Time of Queen Elizabeth. On copper. 120 Portrait, in oil, of a Gentleman wearing a ruff. Time of James I. 121 Portrait, in oil, of a Lady with standing ruff, pearl necklace, and handsome jewel. English. Time of James I. On copper. 122 Portrait Head, in oil, of a Gentleman wearing a ruff. Time of James I. On copper. 123 Portrait of Lucy Percy, Countess of Carlisle. Probably a copy after Bernard Lens. Frame silver, inlaid on the back with tortoise-shell and mother-of-pearl. 124 Portrait of a Gentleman. Costume and time of Charles I. painted in oil, panel, with carved oak frame. 1 25 Portrait to knees, in oil, of a Gentleman in half armour, wearing a large lace cravat. English. Time of Charles I. Copper. 126 Portrait, in oil, of a Gentleman in armour. Time of Charles I. On copper. 127 Portrait, in oil, of a Gentleman wearing a large lace collar. Dated 1640. On copper. 128 Portrait, in oil, of a Gentleman. Costume of Charles I. On copper. 129 Portrait of a Cavalier. Cleverly painted in oil ; armour ; lace and red ribbon tie round neck. Silver case, engraved. 130 MINIATURES. 11 Portrait, in oil, of Anthony Ashley Cooper, first Earl of Shaftesbury, Statesman, b. 1621, cl. 1683. Probably a miniature copy after Michael Wright. 131 Portrait of Archbishop Triest (after Vandyck). Signed (initials unknown), and dated 1679. 132 Portrait of a Gentleman. English costume. 17th century. 133 Portrait, in oil, of a Lady. Time of Queen Anne. Probably after Sir Peter Lely. 134 Portrait, in oil, of Sir Richard Steele, Essayist, b. 1671, d. 1729. On copper. 135 Portrait of James Burnett, Lord Monboddo, Metaphysician, b. 1714, d. 1799. On ivory. 136 Portrait of Mrs. Hester Lynch Piozzi, Writer, and friend of Dr. Johnson, b. 1739, d. 1821. 137 Two Portraits, one painted on either side the same copper, beautifully finished in oil, said to be of the Admirable Crich- ton, but the costume is apparently later. Was in the Rogers Collection and then called the portrait of a youth at different periods of life; yet both the heads appear to have been painted at the same time, and may not improbably be por- traits of two brothers. 138 Portrait of a Man in Armour, wearing a red cap. Case silver. 139 Portrait, in oil, of a Gentleman wearing a ruff. On copper. 140 Portrait, Male Head, in oil. Hair cut short, lace ruff. On copper. 141 Portrait, in oil, of Frederick Henry, Prince of Orange, Stadtholder, b. 1584, d. 1647. On copper. 142 Portrait, in oil, of a Gentleman — face well expressed. On copper. 143 Portrait, in oil, of a Gentleman. On copper. 144 Portrait of a Young Man holding a Book. Books in back- ground. 145 Portrait, in oil, of a Lady, wearing a pink dress. On copper. 146 147 Portrait, in oil, of a Lady. On copper. 13 DRAWINGS. INTRODUCTION. In preparing the following catalogue of the remarkable col- lection of drawings, part of the munificent gift bequeathed to the nation by the liberality . of the late Rev. Alexander Dyce, it has been found on examination, as is usually the case, that the merit of the works of which it is composed varies widely ; and that associated with such an example as a beautiful study by Raffaello, the first idea for one of a series in the Loggie of the Vatican, is a drawing which is clearly not from the hands of the master — “ A study of the nude figure of a man,” &c., from Sir Thomas Lawrence’s collection. This may probably have been obtained by Lawrence in a lot at an auction of some importance, and have been valued as being impressed with his mark. In justice to the liberal donor, I think that in the arrangement of the Dyce collection those drawings I have selected, and of which I have supplied a list to the authorities, should always be kept separate, properly mounted and arranged, while such as are of inferior grade or minor importance might be placed in a volume and preserved for reference only. There are in the collection other drawings besides the one mentioned above, which are either of more than doubtful authen- ticity, or executed by pupils of the artists under whose names they pass — those attributed to Diirer, for instance, are both to be classed under the former head, and those attributed to Rem- brandt under the latter, none of them being by the masters them- selves. One thing which is very much in favour of the quality of the drawings in this collection, if we except the one mentioned above as bearing the initials of Sir Thomas Lawrence, is the 39134. 500.— 5/76. Wt. 1864. ' J 4 INTRODUCTION. fact of so many of them being impressed with the marks of cele- brated collectors — such as the Earl of Arundel, Prosper Henri Lanckrinck, Sir Peter Lely, the two Richardsons, Padre Resta, Jan Pieter Zoomer, Pierre Jean Marietta, J. A. Crozat, Earl Spencer, Conte Francesco Algarotti, Dr. Peart, Nathaniel Hone, Count Caylus, Sir Edward Ashley, Richard Cosway, William Esdaile, John Barnard, Thomas Hudson, Arthur Pond, William Young Ottley, George Knapton, Benjamin West, Ralph Willett, Robert Dumesnil, Sir Joshua Reynolds, &c. Commencing with the Florentine School, we find an interest- ing chawing by Pollajuolo, without however any particular dis- play of his favourite study of anatomy, followed by studies by Bandinelli, with his fine telling stroke with the reed pen, and bistre : then come a leaf from one of the sketch books of Leonardo da Vinci, which has unfortunately been tampered with, and a good specimen or two of the writer as well as painter, Vasari. But the most interesting drawing is that by Finiguerra, (specimens of whose work are so rai’e) one of those allegories so common at the time — and for years afterwards, as is fully exemplified by the number of them engraved by Marc Antonio and other workers with the needle and burin — but which no writer on art has been able to explain. The design for an altar-piece by Bartolomeo fills a link in his painstaking studies for his picture in the Uffizi, and the slight sketch for a portion of the Medici Tombs at Florence by Michel Angelo, although unimportant itself, becomes of value when it is understood that many other studies for the same monument are in England. The spirited skirmish by Antonio Tempesta, is worthy of a passing remark, and concludes the notice of such drawings as are worthy of note in this school. In the next, that of Sienna, there is only one, by F. Vanni, which is a fair example and interesting from the fact of its having been engraved. The Roman School commences with Raffaello’s study men- tioned before, with its marks of former eminent collectors — a drawing which has escaped the notice of Passavant and other writers on art, but is unquestionably by the master. The por- trait of the Duke of Urbino is also fine, though not of the same quality as the Moses. Then comes a very clever sketch with a pen by Raffaello’s pupil, Perino del Vaga. The engraver’s drawing of the “ Massacre of the Innocents,” by Martino Rota, is interesting, as giving an instance of the usual painstaking method of preparing an elaborate drawing for the engraver to work from — often so skilfully executed as to be taken for the painter’s own work — a mistake which is very excusable, for, in many instances, the masters did themselves prepare these guides for their followers with the burin : even Raffaello him- self found time to execute many, so much interest did he take in seeing his designs properly translated by Marc An- tonio. Vasari indeed distinctly mentions that Raffaello some- times corrected the outline on the copper, a statement fully borne out by a careful examination of some of the engravings — DRAWINGS. 15 such for instance as the Judgment of Paris, where the corrections made with the needle are easily detected by the aid of a lens. A fine drawing by Cortona is next worthy of notice, representing a Roman Sacrifice : it has been engraved by Bartolozzi, whose too careful manner, suitable for the small classical designs of Cipriani, failed to render the ideas of a painter of larger and more important subjects. Two good sketches by Borgognone come next, very clever, but slight in execution. Then a fair Carlo Maratti, of the head of the Virgin in red chalk, and the last to be noticed is by Berrettoni, of Venus and the dead Adonis, in bistre. Of the Venetian School, we have a fair study by Titian, in black chalk, a study in pen by Battista Franco of the Rape of Deianeira, and a beautiful drawing of “ Men Loading Asses ” by the chaste designer of landscapes, Domenico Campagnola : also two clever studies by Bassano, one of them, however, rather coarse and grotesque, and a number by Tintoretto, made for his large pic- ture of the “ Crucifixion,'’ so finely engraved by Agostino Caracci. There are fifteen of these slight spirited studies in black chalk on grey paper, probably all from the Reynolds collection, and there are others elsewhere ; but the number is easily accounted for when one considers the multitude of figures in the picture and its richness of incident. Two sketches by Farinato are bold and clever, as are one by Paolo Caliari (Veronese), two by Jacob Palma of the “ Entombment ” and “ Christ Descending,” and another by Sebastiano Ricci, entitled “ Panis Angelorum : ” these examples may be said to conclude with a view of a tomb and chapel by Canaletto, for the slight sketches by his pupil Guardi, though true enough, are not of much importance. The Mantuan School is dependent for its place here on a good drawing by Bartolomeo Manfredi of a Holy Family, in pen and bistre ; so that we must pass without delay to the Parmesan, which makes a fair start with three genuine works of Correggio. The first is the recumbent figure of an angel, in red chalk height- ened, the next a study of a female playing upon the flute, a pure little piece of poetry with two heads on the same sheet ; and the third a very fine study, in red and black chalk, of the academical figure of a man seated. Then come some of the endless studies of Parmigiano, who probably supplied his con- temporaries with designs to assist them in their efforts to express motion. I am confirmed in my opinion by the number of his etchings which have evidently been fixed up in painters’ studios, as shown by the fact that they bear the holes from the pins or nails used for the purpose, as well as the invariable oil stain. Most notable is a sketch in pen and bistre of a dancing Cupid, then a beautiful design, probably copied from a Greek gem, of a winged female figure holding a lifeless man by the arm, and a second subject on the same sheet of Hercules struggling with Cerberus. A slight sketch in pen follows of a female partly draped, and another, also in pen, of an old man seen in profile. Last among what is worth noticing in this school may be men- 16 INTRODUCTION. tioned a fine sketch in black chalk for the Assumption, by Lan franco. The School of Bologna commences with a fair drawing by Tibaldi, in black chalk, washed with Indian ink, representing the Birth of the Virgin, followed by another in pen and sepia, washed, of St. Anthony of Padua, by Federigo Barocci. We have after this, three creditable performances by Guercino — the first, in red chalk, a saint about to be decapitated ; the next, an allegorical drawing of a young female seated in a car, in pen and bistre ; the third, a study of a youth wearing a fur cap. It would be strange, indeed, to find a collection of drawings without a few by Guercino, for the examples are innumerable, and very few of them studies for pictures : most of them have evidently been executed in a rapid manner to multiply the number for sale, for there must have been a large market for them during the painter’s life. We have next a very fine landscape, in pen and sepia, by G. F. Bolognese, and another, a view of the Church of St. Lorenzo at Rome, signed by the artist. By Simon da Pesaro, we have a beautiful study of Cupids seated on clouds, in red chalk. This brings the School of Bologna to a close. The remarks made above on Guercino apply equally to Luca Cambiaso, of the school of Genoa, of whose meretricious perfor- mances with pen and bistre we have here 17 examples. The best is a slight sketch for Leda and the Swan, but two others are perhaps worthy of a passing remark, namely, “ Angels grouped in the clouds, bearing the implements of the Passion,” and “ Venus dissuading Adonis from the Chase.” The very slight execution of the Leda accounts for its atti'activeness, for had it been more highly finished it would have lost its delicacy. To conclude this school we have here two bold studies in distemper colour, by Castiglione, the one representing “A Nymph sur- prised by Satyrs ” being the best of the two. The only draw- ings of the Neapolitan School of any importance are a sheet of studies by Salvator Rosa in pen and sepia, and a clever design for a fountain in black chalk by Luca Giordano. Of the School of Fontainebleau, which is the last of the Italian, there is a study, in black chalk, of “ Two Men embracing,” by F. Primaticcio. The German School commences with a curious and early specimen, wrongly ascribed to Martin Schdngauer though of his time. It is deficient in the beauty and sentiment of that master, though equal to him in the general treatment of the composi- tion and richness of incident. The unusual rendering of the subject is remarkable, the angel presenting a sealed paper instead of the accepted offering, the lily, the emblem of purity. The fact of this having been in many important collections adds not a little to its value — more especially as it bears the mark of Sir Peter Lely. Next, ignoring of course the spurious Durers, is a design by Hans Baldung Griin, for the subject of the Conversion of Saul, which he afterwards engraved on wood : so Italian in DRAWINGS. 17 feeling is this design, that some excuse must be allowed for its having been formerly erroneously ascribed to Titian. Two speci- mens by Hans Holbein follow, both of them being of the finest quality ; the first a portrait in crayons on salmon-coloured paper of a gentleman, so noble in appearance that it would be interesting to identify if possible the individual portrayed ; the second, the Capture of a City, of which a companion drawing is preserved in the print-room of the British Museum. The subjects have not been made out of either. There is a feeling about the last-mentioned which probably might lead to its being mistaken for the production of Urs Graf, but on careful comparison with the productions of Hans Holbein, it will be found to be identical in many respects with that master’s treatment, particularly in the manner of working, and the details. Melchior Lorch’s design for one of his woodcuts, displays the firmness and power of outline which are characteristic of an artist who is in the habit of drawing on wood : this is followed by a clever design for a draped figure of an angel, designed by Joachim Yon Sandrart, and by one of Hollar’s delicately executed river scenes in pen. Two of Sir Godfrey Kneller’s portraits succeed, one in crayons, and the other in black chalk, the former a gentleman and the latter a lady, both life size ; and a head of an elderly man in crayons, by Sir Peter Lely, signed. In the Dutch School the drawings attributed to Lukas van Leyden are merely copies from his prints. The first work of any merit is by Octavio Van Veen, a bedroom with numerous figures ; next comes one of Heinrich Goltzius’s highly finished produc- tions, signed, and dated, which was engraved by Saenredarn and another contemporary engraver ; an allegorical subject by Abraham Bloemaert ; some drawings in pen by Cornelius Poe- lemburg, merely studies in landscape, only one of them having a figure introduced ; and some careful and neatly finished views in Holland, in black chalk, by Jan van Goyen. Other noteworthy landscapes are by Jan Pinas, Roeland Roghman, and J. Stellingwerf ; those attributed to Rembrandt are all spurious — one, however, is by his scholar, Jan Lievens. The one ascribed to Adriaan Ostade, of the Pig Killer and his family, possesses some of the merit and feeling of that painter, but is hardly good enough for his hand, and if by him must be an early effort. The specimens by Antoni Waterloo are all genuine, and the large one of a stream crossed by a slight wooden bridge, in black chalk, is extremely fine. A street scene, with trees shading the thoroughfare, a pretty production in body colours by Philip de Koningh, recalls, like many others of this school, Dutch life in all its truthfulness ; a highly finished “ Interior of a Merchant’s Office,” with its staff in full activity, is interesting as having been engraved ; a landscape with cattle drinking, in red chalk, by Nicolaas Berchem, and a view on the Rhine by Jan Almeloveen in pen, are fair examples of the masters ; and one of the specimens by Paul Potter, executed at the age of 17, is of some interest, as showing the early progress IS INTRODUCTION. of one of the most famous masters of the school, hut the better of his drawings is a study of trees in black chalk — both are signed. The two Ruisdaels are both good drawings, and also the classical landscape, by F. de Moucheron, although the two men’s works are as different as those of any artists can well be. Pieter de Molyn is well represented by six examples of his careful pretty little studies of landscape, neatly executed, in black chalk, and washed slightly with Indian ink. William Van de Velde, the younger, of course is found here, his sketches being so plentiful that a collector still living used to boast of having as many as would pave Co vent Garden : the best is a “ Fleet of Men-of-War, unfurling their Sails.” Curiously enough a sketch by Paul Sandby in this collection has been attributed to Van de Velde, as if that artist had not done enough him- self. A little landscape in pen by Dirk Maas, and signed, is very pretty and tine ; so also is the view of Amsterdam by Gerard Rademacker. Jan Van Huy sum’s classical landscape is curious as a specimen of the master’s works executed before he took entirely to flower painting. “ The avenue of trees on the bank of a canal ” a pretty Dutch view in distemper by a painter not much known to fame, although deserving of it, Paul Constantin La Fargue, and a fair specimen by Hendrik Spilman, with two by Hendrik Kobell, conclude what is note- worthy of this school, which ranges from the beginning of the 17th century to the close of the eighteenth. The Flemish School commences with an anonymous but inte- resting example of the latter end of the loth century, in distem- per, which has been attributed to Cimabue. The next in chrono- logical order of any note is a landscape with banditti, by Paul Bril, in pen, and signed ; another of a large size in pen, tinted by Peeter Breughel, is one of those subjects of festivity so dear to painters of this School, whose efforts to crowd every phase of Flemish life into one composition are incomprehensible, as regards the amount of labour unsparingly bestowed ; the two drawings, by Jan Breughel, of simple landscapes are very pretty. Three specimens by the engraver, Jacob de Gheyn, the elder, are good examples : this artist’s drawings are often taken for those of his Dutch master, Heinrich Goltzius, but to find one ascribed to Lukas Cranach, a German of about a century earlier, is somewhat astounding to connoisseurs. Another “ Kermesse,” this time by Roeland Savery, is larger and more important than the one. by Breughel just mentioned, and displays the added incident of peasants carrying an efligy of the Pope. Next comes a master of a very different stamp, Peter Paul Rubens : the first of his specimens represents “ The Eternal Father,” another “ Lot and his Daughters.” Both are in black chalk, as also is a remarkable study of arms from nature. A fine landscape in pen, by Lucas van Uden follows, and another by David Teniers, the younger, enlivened with figures; also a highly finished “View on the Tiber,” by Lievin Cruyl. Sir John Baptist De Medina next figures in our list, a name better known in Edinburgh than elsewhere : DRAWINGS. 19 we have by him the set of drawings in pen and bistre, washed with Indian ink, for the first edition of Milton’s Paradise Lost published with plates. They are of meretricious design, but they have evidently been highly esteemed by a former possessor, being elaborately mounted with rusticated borders in distemper, by an Italian penman named Pellegrino, who ostentatiously gives his name in full on the title. This school is concluded by a master whose di'a wings are more important for their rarity than for their beauty, Peeter Tillemans. The French school opens with a couple of specimens by that great master of design, Jacques Callot. One of them is a study for his masterpiece, “ The Temptation of St. Anthony,” which, judging by the number of careful studies that lie made for this wonderful production, he intended to be his chef-d'oeuvre : its importance was no matter of chance, as was also the case with Raffaello’s picture of the “ Entombment ” in the palazzo Borghese, of which likewise so many studies exist. The grotesque design of Jacques Bellange of the “Virgin and Saint” follows, curious in its way, as showing the painful efforts of a rather clever man painting evidently on commission. Had he been inspired with enthusiasm he would probably have done better. The two drawings of the same subject, “ Theseus discovering the sword of his father,” by Nicolas Poussin, are both good, the one executed in red chalk being perhaps the better of the two; they are interesting as showing the pains taken by the master in the arrangement of the principal figures. The two Claudes are fine, particularly the grand study, in pen and bistre, from the upper portion of a tree in full foliage. The second is curious as being the same design as one in the “ Liber Veri- tatis ” of the Duke of Devonshire, which was engraved by Richard Earlom. Gabriel Perelle, well known, like Callot, to print collec- tors by his etchings, is here represented by one of his drawings of a “ Landscape with Ruins.” Next comes one by a painter, Van der Meulen, always claimed by France, but still unmistakeably Flemish, representing a “ Fight for Roman Standards ” in pen : this is followed by another by the same artist, a specimen of his more careful manner, and probably executed by him before he resided in Paris. Sebastian Le Clerc’s designs for book illus- trations are careful, as such drawings generally are and ought to be; then we have a good specimen of Jean Jouvenet, a “ Kneeling Figure with Arms extended,” which has in all pro- bability been engraved ; and La Fage’s design for a frieze in pen is worthy of a passing remark, as also are the drawings of Bernard Picart, which have been mistaken for those by Le Clerc. The little female head executed in red and black chalk, by Watteau, is beautiful, and a drawing of the seated figure of a man in the same materials by his scholar, Nicolas Lancret, is a fair example of that artist’s ability. Two drawings by Franqois Boucher come next — one particularly fine, a stud}' of “ Cupids,” in black chalk : there is a third attributed to this master which illustrates my idea on the amount of weeding to be desired, for in this 20 INTRODUCTION. instance we have a copy from a print, and not at all a good one. Le Prince’s drawings are not so well known as the last painter’s works, but they are in many instances deserving of the close companionship they are found in here — the “ Study of a young Maiden in semi-oriental Costume ” will be found to bear out the remark. A modern drawing by a well-known litho- graphic draughtsman, Jean Victor Adam, finishes the list of note- worthy French works in this collection. Then come five drawings of the Spanish School. One of the most interesting, though more for its local and historical than for its artistic merits, displays the incidents at a bull fight in the “ Piazza di Madrid,” about the middle of the 17th century, illustrating the manner in which such exhibitions were arranged, and showing the spectators crowded even on the housetops to witness their favourite sport. Mr. Dyce did not fall into the error into which so many men of high training were betrayed at the time when he commenced collecting — the assumption, namely, that his own countrymen were inferior to their neighbours as painters, and that their works were not worthy of foreign companionship. For taken altogether, the English portion of his collection is the best. We commence with a fine study in black chalk, by William Dobson; then we have Isaac Fuller’s spirited sketch for his own portrait, which is now at Oxford, and is engraved in the 4th edition of Walpole’s Anecdotes of Paintings; then comes one of John Greenhill’s portraits, that of George Digby, Earl of Bristol, in crayons, and a full supply of Sir James Thornhill’s pen and sepia sketches — two of them for the same subject, showing much painstaking with poor results. The elder Richardson next attracts our attention by two heads, one in pen, and the other in red and black chalk ; the first, of a man in a tie-wig and three- cornered hat is much the finer : both are dated by the painter. Hogarth may be said to be a blank, for there appears only a copy of one of his prints. This is followed by a highly finished study in red chalk, by the etcher, Thomas Worlidge, and a sketch for a portrait, by Francis Cotes. Alexander Cozens comes next (the father of the better known John), whose volume of drawings now in the print room of the British Museum, Leslie relates, was lost by him in Italy, and accidentally discovered by his son. Except- ing in this volume his drawings are very uncommon. One is drawn with a camel hair pencil, a favourite maimer of working with him. Next comes a very fine sketch by Johan Zoffany, in black and red chalk. John Hamilton Mortimer’s versatile book-illustra- tions follow, mostly executed with the pen, some tinted : two of them are studies from Shakespeare which he successfully etched himself. I may also notice two landscapes by the clever but meretricious painter Zuccherelli, who was so well patronized in this country, and obtained the honours of the Royal Academy. By Richard Wilson the great painter of classical landscape who was so disgracefully neglected in his painful effoi’ts to obtain bread, there are no less than twenty-eight sketches ; DRAWINGS. 21 most of them, it is true, very slight, but still possessing the same refinement of thought as his pictures. The most remark- able for poetic feeling in the series is certainly “ The Lake of Nemi, 1753 it is a gem of the brightest water for a student whose art education is advanced enough to comprehend it. The “ Landscape with effect of Storm ” is likewise very fine, and it is of interest as the figure of Amelia was introduced into one of his well-known pictures without alteration. “ Castel Gandolfo ” and “ Baiae ” are also extremely beautiful. Sir Joshua Reynolds’s study in black and red chalk for “ Puck on a Toadstool ” is of interest to all lovers of the master’s work, as being the first idea for one of his favourite subjects : we have also the first sketch for the celebrated portrait of the “ Marchioness of Tavi- stock ” at Woburn, slightly rendered in black chalk heightened with white, and two other sketches for portraits. Two of Gio- vanni Battista Cipriani’s well-known and beautiful designs are here, the best being the man conversing with two females, in pen and sepia, washed. The second has a curious note, with the date of 1768, on the opening of the Royal Academy. One of Reynolds’s most important rivals in portraiture, if we omit Romney, and the contemporary of Wilson in landscape paint- ing, Thomas Gainsborough next approaches. We have 26 of his studies, many of them of the finest equality : see “ Landscape with Figures,” “Landscape with Market-cart,” “Woody Land- scape with Figures,” “Effect of Storm,” “ Suffolk Scenery,” and “ View in Suffolk,” all truthful studies from nature and full of the exquisite poetical feeling that so distinguished this painter from all his contemporaries except poor Wilson. Then of his figure subjects and portraits we have noteworthy examples in “ First design for a Picture,” “ A Shepherd Boy standing,” and the life size study of a head introduced in the composition from which Richard Earlom engraved a plate. Gainsborough is succeeded by John Cozens, called the father •of English landscape painters in watercolours. Be this as it may, his Italian education had given him, as was the case with WilsoD, that classical taste in the treatment of his sub- jects which adds refinement to his more simple compositions. The two most beautiful are the “Lake Scene, with Moun- tainous Distance,” and the “ Coast Scene with Storm Effect,” but the most beautiful of all, although slight, is “ View in Switzerland this is charming indeed, but there are others which are good, such as the “Lake Scene,” the “Valley with Winding Streams,” and the “ View of Geneva.” William Hamilton’s draw- ings are pleasing, as his meretricious compositions usually are : the two noticed here owe their chief interest to the fact that they are portraits of the celebrated tragic actress, Mrs. Siddons. Next comes Thomas Girtin, a man whose individual influence on the school of English watercolour painting marked an epoch in that branch of art of which his short life did not enable him to see the result, but which was seen by his companion in coloui’ing prints, and afterwards in making drawings for Walker’s “ Itinerant ” — J. 22 INTRODUCTION. M. W. Turner. We have here four examples, two of them, “ Land- scape with a River Winding ” and “ Landscape view from a Hill,” exceedingly fine — one in fact as fine as anything he ever touched. The “ Banqueting House,” one of his very early and boyish at- tempts, is curious as showing how rapid his progress was a few years afterwards. Four specimens by George Morland follow, all good — the first “ Landscape with Figures,” a truthful little bit of that English rustic life and scenery, which he loved so well to depict. “ The Portrait of Mrs. Ward,” the painter’s sister, is interesting. The studies in chiaroscuro executed by the Rev. William Gilpin, for his printed work on the Fine Arts, are all so similar that we wonder why he repeated the subject : one teaches quite as much as a hundred, perhaps more, for we are apt to get confused by repetitions, and wrongly to accuse ourselves of inability to appreciate each particular distinction. Angelica Maria Kauffman is represented by four fair specimens of her pastoral efforts, the best being that of Angelica and Medoro, in colours. Seven drawings by Paul Sandby follow, one a fine composition, “ Ruins on a Rock.” Two of the others were engraved in aqua-tint by himself. Next comes the amateur caricaturist, Henry William Bun- bury, who presents us with one of those popular subjects which pleased our ancestors at the latter end of the last century — for the subject, a college scene, was engraved in 1780. We have also six studies from his designs, which were etched by Thomas Rowlandson for the “ Picturesque Beauties of Boswell.” One of them, which, however, is not to be found in that series, may be intended for a meeting at Mrs. Piozzi’s, for there is evidently an allusion to “ blue stockings,” the legs of the whole party being tinted grey, including the wooden one of the soldier who is a member of the party. P. J. de Loutherbourg is here introduced, in three drawings. “ Landscape with Cattle ” is rather good ; but the next is re- markable as refuting the proverb that shepherds are weather- wise, for though a heavy storm is evidently approaching, the herdsman is making no effort to place his cattle under shelter or to seek refuge himself, his attention probably being en- gaged by the tones of his bagpipe. One of Bartolozzi’s mytho- logical subjects highly finished in colours is included in the collection. Of four drawings by another of Turner’s early con- temporaries, Thomas Hearne,a good specimen is “ Ludlow Castle, 1788,” as also is the “ Priory Church at Haddington ; ” but they partake of the peculiar hardness in the distance which gene- rally distinguishes this master’s works from those of his more celebrated contemporaries. A fine drawing follows by another man of the same period whose works are rather uncommon, Julius Caesar Ibbetson, “ The Sale of the Pet Lamb.” Next we have a fair specimen of each of the academicians, James North- cote and Benjamin West, and six by the vigorous, but some- what eccentric Henry Fuseli — the spirit of a beautiful maiden hovering over her parents in their declining life was executed DRAWINGS. 23 by the latter in one of his more sober moments. Next comes a humorous designer of almost the same vigour as the last, but ten times more prolific, Thomas Rowlandson, who so suc- cessfully portrayed every style of rough English life with that broad, though not over decent, humour, for which he was un- rivalled ; now and then introducing a sweet bit of landscape, and not being below a little pathos where he thought it de- sirable. There are 34 of his designs here, some in his best style. See, for instance, in “ A Roadside Inn, 1784,” how well are the dispositions of the soldiers taking refreshments rendered by their different actions ! See also “ Hampton Court Palace " and “ Portsmouth Harbour — Lord Howe’s Victory,” for incidents of vigorous life. For more refinement, see the charming draw- ing of “ St. Austell, Cornwall,” and the view of “ Kew Palace remark also how true is the ruffianism of the maddened crew at the “ Betting Post.” These are followed by the “ Tour of Dr. Syntax,” for which Mr. Combe wrote the verses. Here we have the poet indebted to the painter. Only three of the drawings from this collection however were etched and pub- lished in the work, the remainder being quite new to the present generation of the admirers of the poem. The eminent caricaturist James Gillray next supplies a series of six designs for one of his popular etchings, the painstaking and numerous alterations being quite unaccountable in a genius so versatile, so rapid in execution. Gillray was evidently in no happy mood while engaged on these sketches. While mixing with the notes and suggestions for the title such observations, as “ Poor Corregio died wretched, and Morland,” was his madness making itself felt, or was he more probably suffering from despondency resulting from the effects of his besotted vice ? How different a being was John Flaxman — whose two drawings follow, one of them of a man in grief, displaying his power of design linked with a pure feeling for a pathetic subject. Two of the youthful Lawrence’s careful studies from the antique precede some of Samuel de Wilde’s highly finished portraits of actors and actresses. The large number of 86 sketches by Thomas Stothard have to be noticed. Although most of them are very slight, being hurriedly executed with pen or pencil on the first scrap of paper that came to hand, still, in most instances, they are of importance, being the first ideas for some of his most beautiful compositions. Many of them have been identified while others still remain to .be made out : all are interesting as showing the method pursued in sketching on until the design pleased the painter’s eye, which generally had beauty of form and an elegant flow of graceful lines in view. One of them, a “ Prow of a Ship in Flames,” is of some interest, as showing that Smirke as well as Chantrey was indebted to Stothard for some of his designs. There are only two of his important drawings — a very fine design for a candelabrum and a youth supporting the lifeless form of a maiden. Thirteen of Richard Westall’s illustrations to Milton, Cowper, &c. follow, the most important being the coloured drawings for Beckford’s INTRODUCTION. 24 “ Vathek” — all that can be said of them however, is, that they are very pretty. Sir DavidWilkie’s 20 sketches are important as being, in some instances, painstaking studies for some of his pictures, such as “ Holyrood Palace,” “ The School,” “ The First Earring ” and the “ News from the Battle of Waterloo.” Some fine examples by the well known John Varley follow, “The Lake Scene ” and “ Coast Scene ” being both good ; but the finest is a “ Welsh View with Cottage,” which is really beautiful in treat- ment, and charming in colour. The river scene, however, by John Sell Cotman is enough to prove the latter to be by far the greater man of the two, there being always a subtle grandeur in the treatment of his slightest works. The Turners are all, I fear, spurious. Two studies by John Martin, are important, one as being a sketch for his large picture at Kingham, Durham : his drawings, moreover, are by no means common. A mention of five views by Frederick Christian Lewis — of “ Oxford ” and “Berry Pomeroy Castle,” all in colours — and of a “River Scene ” by William Havell, will bring to a close this brief summary of Mr. Dyce’s important bequest of drawings to the nation. G. W. Reid. 25 FLORENTINE SCHOOL. MASO FINIGUERRA. Goldsmith, worker in niello, inventor of the process of taking off impressions on paper from engraved plates. Born 1410, flourished in the middle of the 15th century. There appears to he but one collection in Europe containing drawings ascribed to this master, that in the Ducal palace at Elorence, which originally formed a portion of the collection of Cardinal Leopold of Tuscany. Baldinucci speaks very highly of this series of fifty-six works, and describes them as principally studies of single figures, designed with a pen on white paper, and slightly shaded with bistre or Indian ink, and as possessing, in an eminent degree, that correctness of outline and simplicity of manner which especially characterise the works of Masaccio. Baldinucci uses this language to favour his theory that Finiguerra w r as the last-named painter’s scholar. Venus, standing, partially draped, holding a bow in her right hand, and a vase in her left, from which water is flowing to Cupid, who is reclining on the ground ; on the other side, at the back of the Goddess, is a boy, with a caduceus ; above is inscribed, in 'a semicircle, veneri vlcani vxori dicatvm. Pen and bistre, highly finished. 148 Height , 10 t 9 j inches. Width , 8-^V inches. With the corners cut off. The initials of the artist, I. F. T., are on a tablet beneath, transposed for en- graving, and may be read thus, “ Tommaso Finiguerra incidit.” From the Collection of Richard Cosway, R.A., and probably the drawing described in the sale catalogue of his collection, No. 362, as by Andrea Mantegna. ANTONIO DEL POLLAJUOLO. Goldsmith, Painter, and Engraver. Born at Florence in 1426, died at Rome in 1498. Female, standing, wearing only a piece of drapery over her arms ; she holds a vase in her left hand and presses one of her breasts with the other : Cupid stands behind with his torch. An altar is on the right with burning incense. Pen and bistre, highly finished. 149 Height , 9 T 7 2 - inches. Width , 6 T n 2 - inches. Collection unknown. — A floral ornament. S5991a. C 26 DRAWINGS. BACCIO DELLA PORTA, called FRA BARTOLOMEO. Bom at Savignano, near Florence, in 1469, died in 1517. Design for an Altar-piece. The Virgin and Child, with Saints* Two of them are embracing in the foreground ; the Virgin above, four other saints on each side, standing. A study for the picture in the Gallery of the Grand Duke of Tuscany, in which no saints are introduced in the foreground, but two angels are seated on the steps side by side, and the figure of St. Anne is represented standing behind the Virgin. The composition has been engraved by Giovanni Antonio Lorenzini. Black chalk on brown paper. 150 Height , 8 inches. Width, Gp^ inches. Female, holding a book with both hands, and turning her head towards the left. Study for a Sibyl, very slight ; not in the painter’s usual manner of working. Black chalk on brown paper. ■ 151 Height, 1 1^ inches. Width, 8-pg- inches. LEONARDO DA VINCI. Bom at Vinci near Florence in 1452, died in France in 1519. Studies of four human heads and the skull of an animal. The head, in profile, of a young woman by the side of that of an old one ; the face of an old man above, and a grotesque face turned to the left. The profile of the young woman is much injured by being touched upon. A leaf of a sketch book. Pen and bistre. * 152 Height, 6-JA inches. Width, inches. ANDREA VANNUCCHI, called DEL SARTO. Born at Florence in 1488, died at Florence in 1530. The Salutation. A man appears on the left, ascending the steps, with a bundle on his shoulder ; Mary and Elizabeth are embracing, and St. Joseph with a burden stands in the fore- ground on the right. Study in black chalk for the picture in the Scalza at Florence. There is an engraving of this com- position with the address of Antonie Lefreri. 153 Width, Gj-i inches. Height, 5pV inches. Collections — Jonathan Richardson, Sir Joshua Reynolds, and Lord Spencer. Study of the back of a female torso. Black chalk and delicately finished in Indian ink. 154 Height, 9 r \ inches. Width , 4-^ inches. Collections — Jonathan Richardson, senior, and Sir Joshua Reynolds. * Another and more important study for this composition of the Virgin enthroned and sur- rounded by saints, is in the Crachcrodc Collection in the British Museum, and a third is in tire Uffizi Gallery at Florence, which has only one saint on each side of the Virgin, and instead of the monks embracing in the foreground, a boy is seated, who is playing on the violin. FLORENTINE SCHOOL. 27 GI ANN ANTONIO SOGLIANI. Born at Florence in 1478, died in 1530. St. John reclining on the ground, sleeping : a study of the right fore-arm and hand beneath. Highly finished in red chalk. From a design by Lorenzo Sciarpelloni di Credi. 155 Width , 13yV inches. Height, 7 inches. IL ROSSO, called LE MAITRE ROUX. Born at Florence in 1496, died in 1541. St. Anthony, standing, with his right foot raised on a stone, a bell in his right hand and a staff in the other hand. Pen, washed with bistre. 156 Height, S jA inches. Width, 3 T A inches. Collections — Jan Pieter Zoomer and Jonathan Richardson, junior. BACCIO BANDINELLI. Born at Florence in 1487, died in 1559. Portrait of Benedetto Varchi, Florentine writer (1502-65.) The head in profile, turned to the right. Inscribed, Bene- dictvs Varchi vs. Boldly drawn in pen and bistre. 157 Height, 1 lfb inches. Width, 8 inches. Bacchus, with a Leopard. The god holds a bunch of grapes in his right hand. Pen and bistre, slightly washed with Indian ink. 158 Height, 1 6 A, inches. Width, 10y\ inches. Collections — Padre Resta and Pierre Jean Mariette. Studies of nude figures ; the principal one of a man, seated, with his right leg raised, much larger than the others. Pen and bistre. 159 Height, 16 T A inches. Width, 1 Ofv inches. Study of a Male Figure ; naked, excepting a slight piece of drapery thrown across the shoulders ; seen to the knees only and stooping. Pen and sepia. 160 Height, 12 At inches. Width, 9 At inches. Collections — Jan Pieter Zoomer and Count Barck. Cave with the Skeleton of a gigantic animal secured by bands of leather to the branches of trees, and Human Figures. An Allegory. Pen and bistre. 161 Width, 1 5-jA inches. Height, 9]A inches. MICHEL ANGELO BUONARROTI. Sculptor and Painter. Born at Arezzo in Tuscany in 1474, died at Rome in 1563. Two Studies for the death of the children of Niobe. Sketched with the pen and slightly washed. 162 Width, o T % inches. Height, o-A inches. Left corner at bottom cut off. Collection — Ralph Udney. C 2 28 DRAWINGS. Michel Angelo Buonarroti — {continued). Study, from the Cartoon of Pisa, of the man assisting his companions by the arm, and the naked soldier seated by his side. Pen, washed. * 163 Height , 13 J j inches. Width , 10^- inches. Slight Study of a naked man reclining on his shield, and the figure of a horse above. Sketched with the pen and slightly washed. On the reverse, a slight sketch of one of the designs for the Medici tombs in the chapel attached to the church of San Lorenzo* at Florence. Pen and bistre. 164 Height , 5 inches. Width, inches. Of an irregular form. FRANCESCO ROSSI, called IL SALVIATI. Born at Florence in 1510, died at Rome in 1563. The Escape of Lot. Destroying angels are seen above the doomed city, while others on -the right are conducting the family to a place of safety, all but the patriarch’s wife, who has already met her fate. Pen and ink, on salmon-coloured paper, heightened with white. 165 Width, 7W inches. Height, 3 T ° ? inches. Collections — Jonathan Richardson, senior, and Ralph Udney. DANIELE RICCIARELLI, called DI YOLTERRA. Born at Volterra in 1509, died at Rome in 1566. Christ bearing the Cross. A composition of many figures. The Maries are in a row on the left by the side of the cross, which two soldiers are lifting on the exhausted Saviour’s shoulders ; several horsemen are conducting the procession. Pen, od paper prepared with warm distemper colour, and heightened with white. 166 Width, 18-jJj inches. Height, 12 T 5 ? inches. Collection unknown — A floral ornament. GIORGIO ARETINO VASARI. Born at Arezzo, 1512, died at Florence, 1574. The Worship of the Virgin. She is crowned on earth by angels, Death and Time sacrifice to her ; she appears again in heaven, surrounded by the righteous, and the Saviour in a halo of glory by her side. Pen and bistre. 167 Height, lo-jk inches. Width, 9 T -g- inches. Vignette. Jupiter and Europa, in a frame, surrounded by arabesques, enclosed in a lunette with an arched top. Pen and bistre, washed. 168 Width, 8 x G j inches. Height, o T v inches. • There nrc many sketches preserved which Michel Aneelo made for these tombs; some of them are to bo found in the British Museum and others at Oxford. FLORENTINE SCHOOL. 29 Study for a pediment, surmounted by a shield of arms and Cupids. Signed. Pen and washed with bistre and neutral tint. 169 Width, 6j-ij inches. Height, 4 T k inches. Collection — Sir Joshua Reynolds. ANTONIO TEMPESTA. Painter and Etcher. Born at Florence in 1555, died in 1630. Battle Piece. Cavalry fighting on a bridge. A trooper in the foreground stretched across his dead steed. Pen washed with sepia. 170 Width, 7 t % inches. Height, o T ° 2 - inches. ORAZIO LOMI, called CENTILESCHI. Bom at Pisa in 1563, -worked in London, where he died, in 1647. Old Man’s Head, life size, three quarters, turned to the right. Red chalk. 171 Height, 11 T ° 5 inches. Width , 8^- inches. Collection unknown — A scroll. MATTEO ROSSELLI. Born at Florence in 1578, died in 1650. Ascension of the Virgin, with St. John on the right and Justice on the left. Only two figures beneath the celestial group, one of these is an old saint. Red chalk on prepared paper. 172 Height, 8 T 8 5 inches. Width, 5}^ inches. Collections — Jonathan Richardson, junior, and Sir Joshua Reynolds. ANONYMOUS. Virgin and Child, seated; two angels attending and St. John standing near ; study of a man, seated, on the right, and a slight sketch of a female figure above him. Pen and bistre, slightly washed and heightened with white. 173 Width , 8 inches. Height , 5jl- inches. Ascribed to Benozzo Gozzoli. Collection — Marquis Legoy. Virgin and Child, with the infant St. John. Pen and bistre, washed. 174 Height , 1 0/ ^ inches. Width, S-A,- inches. Ascribed to Luca Penni. Hercules and the Centaur Nessus. The latter has just dis- charged an arrow, his adversary raises his shield and poises a spear. Highly finished with a pen and washed with bistre ; from the antique. 175 Width, 13-^ inches. Height, 8-/^ inches. Ascribed to Baccio Bandinelli. Collection — Sir Joshua Reynolds. 30 DRAWINGS. Anonymous— ( continued ). Classical Subject. A maiden insisting the attack of a ram by holding to its face the polished surface of the shield of her lover : he and the rest of her companions are endeavouring to escape. Pen, washed with bistre. 176 Width, 14-j^t inches. Height, 1 0 T V inches. Ascribed to II Rosso, called Le Maitre Roux. Study of a Man, seated, bearing a Tablet, from which he is reading. Black chalk, on paper tinted with salmon colour, and very slight. 177 Height, 8 inches. Width, G^k inches. Ascribed to Fril Bartolomeo. Collection — Sir Joshua Reynolds. Heads of a bald old man, looking to the right, and of a young man, whose face is turned in the same direction. Pen and bistre. 178 Height, 4 inches. Width, 3 T 3 5 inches. Ascribed to Leonardo da Vinci, but merely a copy. Grotesque Head, in full face, with dishevelled hair, bistre. Height, 4 inches. Width , 2\-' 2 inches. Ascribed to Leonardo da Vinci, but merely a copy. Horse’s Head, in profile, to the left. Pen and bistre. Height, 4^ inches. Width, 3^ inches. Ascribed to Leonardo da Vinci, but merely a copy. Angle of a Hall, with figures of angels in niches ; close above them is a lion, and, on the pedestal to the right, figures of a crowned female and two nude children, one of whom she holds to her bosom. Highly finished Avith the pen on vellum. 181 Width, 9 inches. Height, 6 inches. One corner cut off and repaired. Ascribed to Giotto di Bondone. Pen and 179 180 SIENNESE SCHOOL. CAYALIERE FRANCESCO VANNI. Born at Siena in 1565, and died there in 1610. St. Francis receiving the Infant Christ from the Virgin, who is standing on a cloud ; he kneels, and appears to be kissing the child’s left hand. A monk is seated on rocks in the foreground asleep, with his beads and a skull in his hand. Red chalk heightened with white. 182 Height, 10/* inches. Width, 8^ inches. This -was engraved by Francesco Salini. Seethe Print No. 1516. Collec- tions — Lanone and St. Ive. FLORENTINE, SIENNESE, AND UMBRIAN AND ROMAN SCHOOLS. 31 UMBRIAN AND ROMAN SCHOOL. EARLY ANONYMOUS. Joseph placed in the Well by his Brethren. Drawn with the brush on vellum, prepared with distemper, and heightened with body colour. Various studies behind ; two females in a car ; above, a flock of sheep, &c. 1 83 Width, S j'b inches. Height, 6-jA inches. Collections — William Esdaile and Sir Thomas Lawrence. PIERO DELLA FRANCESCA DA BORGO S. SEPOLCRO. Born at Borgo S. Sepolcro in Umbria in 1398, died in 1484. Lucretia, seated at the side of a bed, stabbing herself. Dis- temper, heightened with white. 184 Height, 1 l T 8 a inches. Width, 8 T 4 g- inches. RAFFAELLO SANZIO DI URBINO. Born at Urbino in 1483, died at Rome in 1520. Finding of Moses. Study for the fresco in the Loggie of the Vatican. There is a long inscription by A. M. Zanetti at the back of this drawing. Pen and bistre, slightly washed. 185 Width, 1 1-A>- inches. Height, 1 T 2 ^ inches. Collections — Flink of Rotterdam, M. Wander Schelling, The Marquis Legoy, Dr. Mead, and Sir Thomas Lawrence. Study for the Portrait of the Duke of Urbino* — “ School of Athens.” The face in full view, and turned a little to the right, the hair short, and the coat fitting close to the throat, with a small upright collar. Highly finished in black chalk on prepared paper. 186 Height, 1 OJIj inches. Width, 8-/V inches. Collections — Medici and Jonathan Richardson. GIULIO PIPPI, called GIULIO ROMANO. Born at Rome in 1492, died at Mantua in 1546. Group of Apollo and Marsyas contending, and seated opposite each other in very easy attitudes. An hexangular composition. Pen and bistre washed. 187 Width, 8 t % inches. Height, 6 inches. Allegory of the Triumph of the Arts encouraged by Peace and Commerce. Octangular design for the centre of a ceiling. Pen and sepia, heightened with white. 188 Width, 10 T 8 a inches. Height, 9-/V inches. * In the collection of Prince Liechtenstein, of Vienna, there was a portrait in oil of the Duke Guidobaldo, of Urbino, attributed to Raffaello, which is now missing; a photograph, however, from it is to be found in the Raffaello Collection at Windsor. 32 DRAWINGS. PERINO DEL YAGA. Born at a village near Florence in 1500, died at Rome in 1547. Study for a Holy Family. Signed “P. del Vaga.” Drawn with a pen in sepia. 189 Height , 6 } i inches. Width , Oy 2 ^ inches. Collections — Earl of Arundel and John Barnard. Conversion of Saul. The saint has fallen on the ground, and is looking upward at the Almighty, who appears with angels, and is supported on a cloud, while the terror-stricken soldiers fly from their former leader. Pen, washed with sepia, and heightened with white. 190 Width , 20y\ inches. Height , lOj 2 ^ inches. ENEA VICO. Designer and Engraver. Born at Parma about 1519, died about 1568. Holy Sepulchre. The engraver’s drawing, not answering in every particular to the description by Bartsch, No. 8., in his list of the artist’s works. Drawn in bistre with a reed pen, and heightened with white. See the Print, No. 1209. 191 Height , 1 1] J inches. Width, 9 1 y inches. TADDEO ZUCCARO. Born at S. Angelo in Vado, 1529, died at Rome in 1566. ULYSSES, turning his cattle on one side that he may not hurt his infant son Telemachus, thus betraying himself while feign- ing madness, and ploughing in the sand, to avoid going to the Trojan War. Palamedes and his friends are watching him from behind some trees to see the result of their device. 192 Width, 15yy inches. Height, 13-j 8 y inches. Collection — Jonathan Richardson. MARTINO ROTA. • Designer and Engraver Born at Sebenico in Dalmatia about 1540, died about 1586 Massacre of the Innocents. The highly finished pen drawing, washed with bistre, from which the engraving was taken representing the subject in the same direction, not being re- versed, as is usual with engravers’ drawings of this description. See the Print, No. 1298. 193 Width, 25 T 4 s inches. Height, 16 T b, inches. Attributed to Tiziano Vecellio. The composition described by Bartsch, in “ Le Peintre Graveur,” vol. xvi. p. 248, No. 1. Collections — Crozat and Barker. FEDERIGO ZUCCARO. Born at S. Angelo in Vado in 1543, worked in England, died at Rome in 1609. Portrait of the Painter. Small, three-quarter, turned to the right. Highly finished in red and black chalks. 1 94 Height, 5, 7 j inches. Width, 4 r 2 ^ inches. Collection — William Esdaile. UMBRIAN AND ROMAN SCHOOL. 33 Adoration of Saints. Most of them kneeling ; the two prin- cipal figures are crossing themselves. Pen, washed with neutral tint. Squared for copying, and slightly tinted. 195 Width, 1 4 jh inches. Height , 9 T \ inches. Figures kneeling in prayer, under the guardianship of their patron saints. Design for a votive picture, in the form of an arch. Pen and bistre, washed. 136 Height , o T s 2 - inches. Width, 4 inches. Collections — Charles Rogers and William Esdaile. Interior of a Chapel dedicated to the Virgin ; on the ceiling the Descent of the Holy Ghost is represented. Pen and bistre, washed. 197 Width, 14y\ inches. Height, 1 1 T \ inches. POLIDORO CALDARA, called DA CARAVAGGIO. Born at Caravaggio in the Milanese in 1495, died in Sicily in 1543. Man leading two Mules, laden with fruit, to the right. A frieze. Slightly sketched with a pen and washed with bistre. 198 Width, 15] y inches. Height, 5 inches. CAVALIERE PIETRO BERRETTINI DA CORTONA. Born at Cortona in 1596, died at Rome in 1669. Visit of the Queen of Sheba to Solomon, who is descending the steps of the Temple to meet his guest. Her handmaids follow with presents. Pen, on grey paper, washed with bistre and heightened with white. 199 Width, 7 t S 2 inches. Height, 4jb inches. Roman Sacrifice. A priest in the act of slaying a bull on the left ; and a second sacrifice of a goat on the right, before the Temple of Mars. Signed “ P. da Cortona.” Pen and bistre, washed and heightened with white. 200 Width, 1 7 X V inches. Height, 10 x n 2 - inches. A print exists of this subject engraved by Bartolozzi. PIETRO TESTA, called IL LUCCHES1NO. Painter and Etcher. Born at Lucca in 1617, died at Rome in 1650. Three Saints, one of them a female, offering their devotions to the Virgin, who is enthroned with angels hovering above, and the infant St. John seated on the steps playing. Very slightly executed with a pen charged with bistre. 201 Height, 12yh inches. Width, 10 x ? inches. 34 DRAWINGS. GIACOMO CORTESI, called IL BORGOGNONE. Bom at St. Hippolyte, 1621, died at Rome in 1676. Battle Piece, with slain men and horses in the foreground, over whom a trooper with an upraised sword is riding. Pen and bistre, slightly washed with Indian ink. 202 Width , 1 2 T \ inches. Height , 7 T 7 ^ inches. Skirmish of Austrian and Turkish cavalry. Slightly but boldly executed with a pen, washed with Indian ink and sepia. 203 Width , 29 t s j inches. Height , 12 T 8 ^ inches. Collection — Lord Spencer. CAYALIERE CARLO MARATTI. Painter and Etcher. Bora at Camurano in 1625, died at Rome in 1713. "VIRGIN, crowned by angels, two saints, one of whom is a female, on a cloud kneeling at her feet. Red chalk. 204 Height , 1 1|^ inches. Width , 7j\ inches. Head of the Virgin, the lace turned to the left, and in three- quarter view, slightly inclined forward. Red chalk, on coarse warm toned paper, heightened with white. 205 Height , 9-^ inches. Width, GfV, inches. CARLO CESI. Painter and Engraver. Born at Antrodoco in 1626, died in 1686. Adoration of the Shepherds. Painted with bistre and height- ened with white, the drawing prepared for the engraving by Guillaume Vallet, the subject being reversed and in a border. See the Print, No. 2478. 206 Height , 12 T \ inches. Width, 8 T 8 ^ inches. Collections — The Marquis Legoy, William Esdaile, and Sir Thomas Lawrence. CIRO FERRI. Born at Rome in 1634, died in 1689. The Almighty, wearing a mitre, supported by clouds, and a host of angels, appearing to a nun who is seated near the entrance of a temple, close to the pillars. Pen and bistre, washed with sepia. Signed, “ Ciro Ferri.” 207 Height, 12 T y ^ inches. Width, 8 indies. NICCOLO BERRETTONI DI MONTEFELTRO. Born at Montefeltro in 1637, died at Rome in 1682. Venus lamenting the death of Adonis, whose body she has just discovered stretched on the ground and guarded by his dogs. An oblong oval. Pen and bistre, washed. 208 Width, 13-jAj- inches. Height , 9j-§ inches. Collections — John Barnard, William Rotcoe, and William Esdaile. UMBRIAN AND ROMAN SCHOOL. 35 GIOVANNI FRANCESCO VAN BLOEMEN, called ORIZZONTE. Painter and Etcher. Born at Antwerp in 1656, died at Rome in 1740. Study of an old tree, and a male figure seated near it, blowing the bagpipes, the large horn of which is supported by his shoulder. Pen, washed with neutral tint. 209 Height, 10 inches. Width, 7]4 inches. Collections — Padre Resta and Pierre Jean Mariette. ANTONIO ZUCCHI. Born at Venice in 1726, died at Rome in 1795. Worked in England, husband of Angelica Kauffman. Classical Landscape, with the ruins of temples on the banks of a winding river ; a number of men in the foreground all of whom are bathing ; others are resting near a broken column. Pen, washed with Indian ink and bistre, and heightened with white. 210 Width, 1 inches. Height, 10 T \ inches. ANONYMOUS. Brazen Serpent. Moses is pointing with his wand to the serpent wreathed on the cross, while the people are assembled around. Pen and Indian ink, very slight. 211 Width, 12 t 2 j inches. Height, 10 inches. Ascribed to Pietro Testa. Daniel in the Lions’ Den. The Almighty appearing to him, surrounded by angels. Painted with the brush on grey paper, and heightened with white, probably executed for a print, and by the engraver himself. 212 Height, 16^ inches. Width, 8]-§ inches. Ascribed to Pietro Berrettini da Cortona. Collection — Jonathan Richardson. St. John baptising Christ. Slightly executed in red chalk. The signature false. Note of Richardson at the back : “ In “ the collection of Bonfiglioli at Bologna is a drawing of “ Rafaelle, * Feed my sheep.’ This manner exactly, J.R. jun.” 213 Width, 1 2j^ inches. Height , 1 1 inches. Ascribed to Raffaello. Collections — Jonathan Richardson, junior, and Samuel Rogers. Beheading of John the Baptist. The scene is represented under an archway, where the daughter of Herodias is receiving the head on a charger ; soldiers are grouped around the deca- pitated saint, whose body has fallen on the ground over his cross. Pen and bistre, washed and heightened with white. 214 Width, 1 4]C inches. Height , 10 ]-’ inches. Ascribed to Polidoro Caldara. 36 DRAWINGS. Anonymous — { continued ). Holy Family. The Virgin at needlework, St. Joseph seated, and bowing his head with devotion to the Infant Christ and St. John, who are embracing. Pen, sepia and red chalk. 215 Width, 15 t 8 5 inches. Height, 9 T 7 7 inches. With an arched top. Ascribed to Carlo Maratti. Our Lord in the act of benediction. On the reverse, study of an angel playing on the violin ; the head wanting. Drawn with the brush on pale grey prepared paper, and heightened with white. 216 Height, 6j§ inches. Width, inches. Ascribed to Luca Signorelli. Study for the “ Miraculous Draught of Fishes/’ Pen and sepia, washed. 2 1 7 Width, 12/^ inches. Height , 8} !} inches. Ascribed to Raffaello, but probably by the engraver Ugo da Carpi, executed for his chiaroscuro print. B. xii., 37, 13. Collection — Jonathan Richardson, junior. The Maries and St. Joseph wailing over the dead body of Christ. 218 Height, 13]^ inches. Width, 10J 2 inches. Ascribed to Giulio Clovio. Collection — Count Gelozzi. Men kneeling and soliciting Hercules, who is seated in the centre, club in hand, and the lion’s skin on his left arm. A study for “ Hercule Gaulois, on l’Eloquence,” similar in treat- ment to the same subject designed by Raffaello.* Pen and bistre. 219 Width, 8 jV inches. Height, 6/^ inches. Ascribed to Giulio Romano. Collection — Jonathan Richardson, senior. The Muses, seven of whom are playing the flageolet, seated under the branches of trees : five of the figures nude or nearly so. Drawn with the brush in bistre, and heightened with white. 220 Width, 1 4 } 1 inches. Height , lOyk inches. Ascribed to Perino del Vaga. Nobleman receiving a Deputation. Very slightly executed, in black chalk, on tinted paper. 221 Height, inches. Width, 6 J .V inches. Ascribed to Carlo Maratti. Collections — Jonathan Richardson, junior, and Sir Joshua Reynolds. Female Head, said to be a portrait of La Fornarina. Black chalk, pricked for pouncing. 222 Height, 6yV inches. Width, 5 j n 2 - inches. Ascribed to Raffaello. Collection — Charles Josi. Female Head, in profile. Black chalk, highly finished. 223 Height, 10/^ inches. Width, 7/V inches. Ascribed to Raffaello. Collections — Jonathan Richardson, junior, and Thomas Hudson. * The drawing was formerly in the Crozat collection, but is now in the University collection at Oxford. UMBRIAN AND ROMAN, MILANESE, AND VENETIAN SCHOOLS. 37 Study of the nude figure of a man, his face is turned over his shoulder to the right and seen in profile. The figure is badly drawn (notice the arms, and the form of the figure strained and distorted, the legs being wide apart). Pen and bistre. 224 Height , 9y!| inches. Width, 4,^- inches. Ascribed to Raffaello. Collection — Sir Thomas Lawrence. Boar Hunt. Copied from a gem. Inscribed P. A. T. Red chalk, washed with bistre and heightened with white. 225 Width, G jA inches. Height, 5 T y inches. With the corners cut off- Ascribed to Giulio Romano. MILANESE SCHOOL. MICHEL ANGELO AMERIGHI DA CARAVAGGIO. Born at Caravaggio in 1569, died at Rome in 1609. Mars seated, with one arm raised, three Cupids on the right play with his spear. Pen and sepia, washed. 226 Width, 10, V inches. Height, 6 T 9 y inches. Collections — Jonathan Richardson, senior, Thomas Hudson, and Sir Joshua Reynolds. VENETIAN SCHOOL. DOMENICO CAMPAGNOLA. Painter and Etcher. Flourished at the beginning of the 16th century, working in 1518. Men loading their asses before starting on a journey. Probably a study for the subject of the arrest of Joseph’s brethren. Pen, slightly washed with bistre. 227 Width, 12 T 8 y inches. Height , 9 ,L inches. Collection — Benjamin West. BATTISTA FRANCO, called IL SEMOLEI, Painter and Engraver. Born at Venice in 1498, died in 1561. Study, the Rape of Deianira. Slight pen sketch in bistre, from a gem. 228 Width, 5yh inches. Height, 3 T y inches. Collections — Jonathan Richardson, senior, and John Barnard. GIOVANNI BATTISTA FONTANA ' Designer and Etcher. Born at Verona about 1524. Living in 1573. Our Lord seated upon the tomb, supported by two angels. Pen, washed with neutral tint and heightened with white. 229 Height. 6-,% inches. Width, 4-,^- inches. Collections — Count Caylus and John Barnard. 38 DRAWINGS. TIZIANO VECELLIO DA CADORE. Born at Cadore in 1477, died at Venice in 1576. Virgin and Child, who stands naked in his mother’s lap, with his face turned round to hers. Black chalk on grey paper, heightened with white. 230 Height, 1 1]5 inches. Width, 9^ inches. Top comers cut off. Collections — Jonathan Richardson, senior, Lord Somers, Arthur Pond, and John Barnard. JACOPO DA PONTE, called IL BASSANO. Born at Bassano in 1510, died in 1592. Adoration of the Shepherds. Pen and bistre, on grey paper heightened with white. 231 Height, 16/v, inches. Width , 10 T V inches. Collection — Benjamin West. Dead Christ. The Maries and St. Joseph wailing over the body of Christ, which is seen by the light of a candle. An oval composition, signed. Pen, washed and heightened with white. 232 Width, 9 t 9 j inches. Height, 6 t °j inches. JACOPO ROBUSTI, called TINTORETTO. Born at Venice in 1512, and died there in 1594. Study, the Brazen Serpent. A group of figures struggling ineffectually with the reptiles on the right. Pen, washed, on grey paper. 233 Width , 13 inches. Height , 10y^ inches. Collections — King Charles 1., Jonathan Richardson, and Sir Joshua Reynolds. Descent of the Holy Ghost, a composition of many figures. Pen on grey paper, slightly washed with neutral tint. 234 Height, 1 l jV inches. Width, 7j-^ inches. With an arched top. Collections — Jonathan Richardson and Sir Joshua Reynolds. Study, Christ on the Cross. Signed “ G. Tintoretto.” Black chalk on grey paper, heightened with white, and squared for copying. 235 Height, 1 ofj inches. Width, lO-fk inches. Collection — Benjamin West. Study of a monk kneeling, the head thrown back in an attitude of astonishment, for a figure in the “ Assumption.” Black chalk on grey paper, heightened with white. 236 Height, 14^ inches. Width, 9 T G 5 inches. Collection — Sir Joshua Reynolds. VENETIAN SCHOOL. 39 Study of figures, Hercules overcoming two men, one apparently dead is lying on the ground. The composition repeated on the reverse. Black chalk on grey paper, heightened with white. 237 Height , 14 inches. Width, 10 inches. Collection — Sir Joshua Reynolds. Study of figures of gladiators. Another study for the same group on the reverse. Slight, in black chalk on warm toned paper, heightened with white. 238 Height, 11x2 inches. Width, inches. The form irregular. Collection — Sir Joshua Reynolds. Slight Study of a man in an attitude of fear, his knees appear to be giving way under him. Black chalk. 239 Height, lO jh inches. Width, 6 T V inches. Collection — Sir Joshua Reynolds. Study of a male figure, standing, the head inclined towards the left ; squared for copying. Black chalk on grey paper, heightened with white. 240 Height, 1 5]-| inches. Width, 9]-[! inches. Collection — Sir Joshua Reynolds. Study of a male figure, stooping and holding what appears to be a large book. Very slight. Black chalk on grey paper, heightened with white. Inscribed with a spurious signature. 241 Height, 12 T ^- inches. Width, 8 inches. Collection — Sir Joshua Reynolds. Draped Male Figure, seen from behind, the head bent. Black chalk on grey paper, heightened with white. 242 Height, 12 T 3 2- inches. Width, 7y% inches. Collection — Sir Joshua Reynolds. Draped Male Figure, leaning forward to reach something from the ground. Slight, but very cleverly drawn. A study of a portion of a nude male figure on the reverse, Black chalk on grey paper, heightened with white, and squared for copying. 243 Height , 12^ inches. Width, 8 inches. Collection — Sir Joshua Reynolds. Study of a male figure, the hands tied behind and the head inclined as if from pain. Nude, except drapery round the loins. Very slight. Black chalk on grey paper, heightened with white. Another study on the reverse, of a nude male figure, with his knees giving way under him. 244 Height , 12- f b inches. Width, inches. Collection — Sir J oshua Reynolds. 40 DRAWINGS. Tintoretto — ( continued ). Sketcii of a nude figure of a man seated ; squared for copying. The same subject on the reverse. Black chalk on grey paper. 245 Height, 8,-L inches. Width, 6} 1 inches. Collection — Sir Joshua Reynolds. Study - of a nude man, seated, and embracing one of his knees. Black chalk on grey paper, squared for copying. 246 Width, 8 j j inches. Height , 7 T \ inches. Collection — Sir Joshua Reynolds. Study of nude male figure, standing, inclined towards the left. Very slight, in black chalk, on warm toned paper, squared for copying. 247 Height, 12 T ? 2 - inches. Width, 6fj inches. Collection — Sir Joshua Reynolds. PAOLO FARINATO. Painter and Etcher. Born at Verona in 1522, died in 1604. Grape Gathering. Boys collect the fruit, which a man receives and places in a basket. A bold and cleverly wrought design. Pen and bistre on grey paper, washed and heightened with white. 248 Width, lOyb- inches. Height, 9^ inches. Collections — Jonathan Richardson, junior, Richard Cosway, "William Esdaile, and Charles Rogers. GROUP of Cupids, three of them holding drapery over a vase. Pen, washed with bistre on grey paper, and heightened with white. 249 Width, 10 t 7 tj inches. Height, 7-^ inches. Collections — William Esdaile and Ralph Udney. PAOLO CALIARI, called PAOLO VERONESE. Born at Verona in 1532, died in 1585. Classical Subject. Six persons assembled near an altar ; three of them form a group of a warrior kneeling to two maidens. In the distance the finding of a child on the bank of a river. Pen, washed with bistre. 250 Width, 13j j inches. Height, 7-^* inches. JACOPO PALMA, THE YOUNGER. Painter and Etcher. Born at Venice in 1544, died in 1628. Entombment. Mary the mother of James assists to lower the body, while the Magdalen supports a foot ; one of the group holds a crown of glory over the head of the fainting Virgin. Pen and bistre, washed. 251 Height, ll T e j inches. Width, 9-^* inches. Collection — William Young Ottley. VENETIAN SCHOOL. 41 The SAVIOUR descending, accompanied by angels, and appearing to St. Jerome and two other doctors of the church. De- sign for an altar piece. Pen and bistre, washed, squared for copying. 252 Height , 15{d, inches. Width , 10 T \>- inches. Collection — William Esdaile. Nude Figure of a man holding by his hands to a wall. Copied from Raffaello’s Incendio del Borgo. Slight, in pen, but very spirited. 253 Height , lOpg- inches. Width , 4-j^- inches. Collection — Sir Joshua Reynolds. Study of a man seated, the face turned round and seen in profile to the right, the left hand raised to his breast. Dated 1623. Pen and bistre, heightened with white. 254 Heigh t , 5^- inches. Width, 4y\ inches. Collection — Jonathan Richardson, junior. SEBASTIAN 0 RICCI. Painter and Etcher. Born at Belltlno in 1659, worked in London, died at Venice in 1734. Adoration of the Shepherds, in a grand Temple. A coat of arms beneath the steps leading to where the Virgin is placed ; angels hover above. Designed for a book illustration. Pen and bistre, washed with Indian ink. 255 Height, 5j-§ inches. Width, 3y^ inches. “ Panis Angelorum,” &c. A female kneeling and pointing to a little dog, which the Saviour appears to be blessing ; a young- man looks on, and three of the Apostles appear behind. Cherubim above, with the holy wafer. Black and red chalk. See the print from this drawing, No. 1583, on which the above title is inscribed. 256 Height, 8-J-jj,- inches. Width, 6 T V inches. BARTOLOMEO LITTERINI. Born at Venice in 1669, died in 1745. Martyrdom of Saint Simon. The Almighty above, supported by Angels; the Virgin on one side and the Saviour on the other, kneeling. Inscribed “ Litterini Veneziano.” Pen, washed with neutral tint on warm grey paper. 257 Height, 13-/V inches. Width, 8 T 9 ^ inches. GIOVANNI BATTISTA PIAZZETTA. Born at Venice in 1682, died in 1754. Study of an old man’s head, life size ; his beard is long and flowing, and a light cap covers his bald head, the face is nearly full, and the eyes are raised. Black chalk on warm paper, heightened with white. 258 Height, 16 T V inches. Width, 1 1 T k inches. Collection — Lord Spencer. 25991a. D 42 DRAWINGS. ANTONIO CANAL, called CANALETTO. Painter and Etcher. Bom at Venice, in 1697, worked there, in Rome, and London, died in 1768. View of a Tomb and Chapel, the principal entrance and a wall on the left, but another entrance by an iron gate on the right. Highly enriched with statues. Pen, washed with neutral tint. . 259 Width, 14 x n ? inches. Height, 10 inches. FRANCESCO GUARDI. Born at Venice in 1712, died in 1793. Scene under the arch of a temple, with figures assembled about the steps ; beyond, a fine gateway. Very slight, in pen, washed with bistre. 260 Height , 10 xx inches. Width , 6 X W inches. Entrance to an Amphitheatre, with a temple to the left, and a flight of steps in the foreground, and figures grouped about them. Pen, and washed with bistre. 261 Height , 7 inches. Width, 5^ inches. ANONYMOUS. Agony in the Garden. The angel holding the sacred chalice above the Saviour. The three apostles sleep in the fore- ground, on the right. Pen and bistre. 262 Width, 6-j^ inches. Height, 4 x .j inches. Ascribed to Jacopo Palma. Dead Body of Christ reclining on the tomb. The Maries and St. John wailing. Pen, the front of the sepulchre and shadows of the figures are washed with salmon colour ; in distemper. 263 Width , 1 1 inches. Height, 6-^ inches. Of an irregular form, the top corners cut off. Ascribed to Sebastiano del Piombo. Collection — Thomas Thane. St. Jerome kneeling at his devotions before a figure of Christ ; the lion is sleeping near. Pen, on grey paper, washed with bistre and heightened with white. 264 Height, 5 XX inches. Width, 4 X 3 ^ inches. Ascribed to Jacopo Palma. Two Studies for the back of the stooping draped figure of an old man, to the hips, the face partially turned to the right, over the shoulder. On the reverse, two studies for the same figure from the front, with the right arm extended. Also a study of a leg. Black chalk on grey paper, heightened with white. The mark of Sir Peter Lely appears on the mount. 265 Width, inches. Height, 10 X U inches. Ascribed to Tiziano Vecellio. VENETIAN, MANTUAN, AND PARMESAN SCHOOLS. 43 Two Military Figures, standing and looking upwards. The heads touched upon by an inferior hand. Black and red chalk, washed with neutral tint. 266 Height , 16 inches. Width, 11^ inches. Ascribed to Giorgione. MANTUAN SCHOOL. GIORGIO GHISI MANTOYANO. Born at Mantua in 1520, died there in 1582. CEPHALUS, and her nymphs, weeping at the death of Procris. The engraver’s drawing after Giulio Romano. Pen and bistre, finished with a wash of the same colour, and heightened with white on paper prepared with bright brown distemper. See the Print, No. 1286. ' 267 Width, 22 t A inches. Height, 13^ inches. BARTOLOMEO MANFREDI. Born at Mantua in 1574, died in 1617. Holy Family, the Virgin and Child enthroned, Saint John the Baptist on their right, and Saint John the Evangelist on their left, while St. Joseph stands close by his side. Pen, washed with bistre. 268 Width, 7yl inches. Height, 5-J-S inches. Collections — Jean Pieter Zoomer and William Esdaile. PARMESAN SCHOOL. ANTONIO ALLEGRI, called CORREGGIO. Born at Correggio, near Modena in 1494, died 1534. Study for the upper portion of the figure of one of the Apostles, the head turned over the shoulder, and nearly full view, the arms extended and supported by a staff. On the reverse, a study of arms for an oarsman. Red chalk, on grey paper. 269 Height, 11 T C inches. Width, 10^- inches. Collection — Sir Joshua Reynolds. Group of Angels playing musical instruments while reclining on clouds. Red and black chalk. Signed “ Coregio.” Another design of a similar composition behind. A good drawing spoilt by being retouched by a barbarous hand, see the mouth and chin of the nearest boy in the foreground. 270 Width, 10|i inches. Height , 7 x y inches. Collections— Earl of Arundel, Jonathan Richardson, senior, William Roscoe and Sir Edward Ashley. 44 DRAWINGS. Correggio — ( continued ). Recumbent figure of an Angel, forming a portion of a design for the centre of a cornice or frieze. Red chalk, heightened with white. 271 Width , 6 t 9 j inches. Height, 2\-% inches. Collections — Prosper Ilenri Lanckrinck, Sir Peter Lely, Jonathan Richardson, and Arthur Pond. Female playing a Flute, and two heads. Red chalk. 272 Width , 8 T 8 2 inches. Height, inches. Collections — Sir Joshua Reynolds and Nathaniel Hone. This drawing was ascribed to Annibale Caracci. Academical Study of a man seated, his right hand resting on a rock and his left on his right leg. The lace in profile, with a thoughtful expression ; with a spurious signature “ C. Le Brun.” Red and black chalk. 273 Width, 15yj inches. Height , 1 1 T V inches. Collection unknown. — The initials G. F. FRANCESCO MARIA MAZZUOLI, Called IL PARMIGIANO. Painter and Etcher. Born at Parma in 1503, died at Casale Maggiore in 1540. Fall of Piiaeton. Slightly drawn in with the pen, on salmon coloured paper. 274 Height , 4 inches. Width, 2|| inches. With an arched top. Dancing Cupid with his arms raised above his head. In pen and bistre, washed. 275 Height, 4y^ inches. Width, 2-fe inches. Two Subjects. The first, a winged female figure holding a lifeless man by the arm ; probably intended for Mercy interceding for a fallen warrior. The second, Hercules struggling with Cerberus. Apparently designed from an antique gem. Delicately drawn in pen and washed with bistre. 276 Width, 6 r 4 j inches. Height, 4y\ inches. Female standing partly draped, and very slightly sketched, excepting the right leg. In pen. 277 Height, 5 t \ inches. Width, 1 Jd inches. Head of an old man, in profile, turned to the left. Pen, the face tinted. 278 Height, 2yk inches. Width, inches. Collections — Jonathan Richardson, junior, and Sir Joshua Reynolds. Female seated, with her feet drawn under her. Very delicate, in red chalk. Signed “ Parmeganino.” j 279 Height, 4 T \ inches. Width, 4 7 1 2 inches. Collections — Jonathan Richardson, junior, Richard Cosway, and monogram “M. L.” PARMESAN AND CREMONESE SCHOOLS. 45 Study of Female Arms from the same model, one above the other. Black chalk on grey paper, heightened with white. 280 Height , 8 /k inches. Width , inches. With the corners cut off. Collection — Sir Peter Lely. CAYALIERE GIOVANNI LANFRANCO. Born at Parma in 1581, died in 1648. Assumption. A slight but cleverly executed sketch in black chalk. 281 Height, 23-jb inches. Width , 16^- inches. Collection — Charles Rogers. ANONYMOUS. Angel leading the infant Tobias by his left hand, while he carries the fish with the other, and the dog walks between his legs. Washed with bistre, and heightened with white, on grey paper. 282 Height , 13 xg - inches. Width, 8 T h inches. Collection— J. A. Crozat, and Baron de Thiers. iENEAS and Anchises. Slightly executed in pen and sepia. 283 Height, 7-ff inches. Width, 5 T 9 ¥ inches. Of a sexangular form. A Cupid, reclining on roses. Drawn with a pen washed with bistre, and heightened on grey paper pricked for pouncing and transferring the design to a fresco. 284 Width, 9}-!J inches. Height, 7f\ 2 inches. Of an irregular form, the lower corners cut off. A Man climbing the side of a column apparently for the pur- pose of haranguing an assembly of people. Drawn with the brush on paper prepared with distemper colour, and heightened with white. 285 Height, 8-]A inches. Width, inches. Ascribed to Parmigiano. Collection — Sir Peter Lely. Young Man holding a book with both hands, his face turned round, and nearly in full view, said to be the artist's portrait. Black chalk, the face tinted with crayons. 286 Height, 7f 2 inches. Width, 6 T 2 X inches. Ascribed to Parmigiano. Collection — Lord Spencer. CREMONESE SCHOOL. CAVALIERE GIOVANNI BATTISTA TROTTI, called IL MALOSSO. Born at Cremona in 1555, died in 1607. Madonna appearing in the clouds to two Saints, a male and female, who both kneel on the ground. Pen and sepia. 287 Height, 16 x b inches. Width, 10 {4! inches. 46 DRAWINGS. DONATO CRETI. Born at Cremona in 1671, died at Bologna in 1749. St. Jerome. Slight, in pen and bistre. 288 Height, 1 0|| inches. Width, 7 T \ inches. Collections — Padre Restil and Pierre Jean Mariette. BOLOGNESE SCHOOL. PELLEGRINO TIBALDI, called PELLEGRINO DA BOLOGNA. Born at Bologna in 1527, died at Milan in 1591. Birth of the Virgin. Female attendants washing the newly- born child on the right. Black chalk, slightly washed with Indian ink, and heightened with white. 289 Width, 19 t 6 j inches. Height, 16y.l inches. Collections — Richardson, Richard Iloulditch, Crozat, and Thomas Hudson. AGOSTINO CARACCI. Painter and Etcher. Bom at Bologna in 1558, died at Parma in 1601. Naked Man reclining on drapery, he holds his left hand to hide his face, and clasps one of his knees with the other. Pen and ink, slightly tinted with flesh colour. 290 Width, lly^ inches. Height, 8/^ inches. Of an irregular form, the top corners cut off. Collections — Jonathan Richardson, senior, and Thomas Hudson. ANNIBALE CARACCI. Painter and Etcher. Bom at Bologna in 1560, died in 1609. Allegorical Subject for a book illustration. Nude female figure stepping upon a globe ; Cupid above, supporting drapery, on which a cardinal’s arms are designed, a trophy on the left, and a fallen crown and turban on the right. There is a signature on the drawing of Friederich Inspach, who was probably a former owner. 291 Height, of 2 inches. Width, 3 inches. Figure of a Man tying on the ground on his side, with his limbs huddled together, and fore-shortened. Red chalk. 292 Width, 13^2 inches. Height, 8 T % inches. Collections — Arthur Pond, Jonathan Richardson, junior, Sir Joshua Reynolds, John Barnard, and Uvedale Price. LANDSCAPE, a castle and fortifications in the distance ; forest trees and figures in the front. Pen and sepia, 293 Width, 1 7f 2 inches. Height, llj-^ inches. CREMONESE AND BOLOGNESE SCHOOLS. 47 FEDERIGO BAROCCI. Painter and Etcher. Born at Urbino in 1528, and died there in 1612. Virgin and Child. Red and black chalk, squared for copy- ing. This may have been originally a good drawing, but it has been completely spoiled by re-touching. 294 Height , 8 ft,- inches. Width, 4 j-’- inches. St. Anthony of Padua, preaching to the animals. At the back, a study of two warriors dragging prisoners after their horses. Pen and sepia washed on grey paper, and heightened with white. 295 Width, 16 inches. Height, 9 X 8 ^ inches. Collections — Lord Arundel, Sir Peter Lely, Jonathan Richardson, junior, and Paul Sandby. LODOVICO CARACCI. Painter and Etcher. Born at Bologna in 1555, died in 1619. St. Christopher, crossing the river, and bearing the Infant Christ on his shoulders. Pen, and washed with bistre. 296 Height , ll x 9 ¥ inches. Width , 7 X % inches. Falling Figure of a nude man in a kneeling attitude, who holds his left hand to his head. On the reverse, a study of another falling figure, and also studies of hands. Black chalk. 297 Height, 14 xx inches. Width, 10fv inches. Collections — Lord Spencer and Robert Dumesnil. DOMENICO ZAMPIERI, called DOMENICHINO. Painter and Etcher. Born at Bologna in 1581, died in 1641. Nun, kneeling and holding a Pyx in her hands. Pen and bistre on brown, heightened with chrome yellow. 298 Height, 8 XX inches. Width , 5 x 2 Lr inches. Collection — Sir John St. Aubyn. SIMONE CANTARINI, called DA PESARO. Painter and Etcher. Born at Pesaro in 1612, died at Mantua in 1648. Studies of Cupids. All seated in various attitudes on the clouds. Red chalk. 299 Height, 10 T 8 ^ inches. Width, 8 inches. Collections — Nicolaas Haym, Lord Spencer and William Esdaile. Study. Boy’s head in profile, turned to the left. Black chalk. 800 Height, 3} ?, inches. Width, 3^ inches. 48 DRAWINGS. MUZIO ROSSI. Bom at Naples ia 1626, died there in 1651. Martyrdom of St. Peter. The Saviour, the Apostles, and the Prophets, in the sky above. Design for a lunette. Pen, washed with sepia. 301 Width , 1 .5 } inches. Height , 8 t 4 j inches. Collections — Jonathan Richardson, junior, John Barnard, and Sir Joshua Reynolds. FRANCESCO ALBANI. Born at Bologna in 1578, and died there in 1660. Diana and her Nymphs, surprised by Actaeon. Very slightly executed in black and red chalk, strengthened with broad touches of a reed pen, probably by an inferior hand. 302 Height , 1 2 r s j inches. Width , 9 T v inches. Collections — Charles Lambert and William Esdaile. GIOVANNI FRANCESCO BARBIERI, called IL GUERCINO DA CENTO. Painter and Etcher. Born at Cento in 1590, died in 1666. Study of the figure of a saint, who kneels with his hands tied behind, and his head inclined forward, ready to receive the stroke from an executioner’s axe. Red chalk. 303 Height, 9-/V inches. Width, Gj-'k inches. Collection — Sir Joshua Reynolds. Figure of an Angel, passing swiftly towards the left with arms extended. Truthfully drawn, but a poor specimen of the master’s power, except in respect to the expression of motion. Pen and bistre, w’ashed. 304 Height, 10 inches. Width, 7^ inches. Collection unknown — An oval shield of arms. An Illustration to Tasso’s Amyntas and Sylvia. The lover sits on a bank contemplating the prostrate form of his mistress who lies on the sward before him, his dog by his side appears also depressed. Pen, washed with bistre ; much injured. 305 Width, 10jk inches. Height, inches. Collection — Benjamin West. An Allegory, a young female seated in a car, reading earnestly, and attended by Time and Cupid, both of whom are holding hour glasses. Signed “ Guarchin da Cento.” Pen and bistre, washed ; the background tinted grey. 30G Width, 10Jk inches. Height, 9j n 5 inches. Collection — Jan Pieter Zoomer. Youth, wearing a fur cap, with flowers in his hand, one of which he is smelling. The face in profile, turned to the left. 307 Height, 9 T 2 2 inches. Width, inches. BOLOGNESE SCHOOL. 49 PIETRO FRANCESCO MOLA. Painter and Etcher. Born at Coldra in 1012, died at Eome in 1668. Triumph of Silentjs, who is inebriated, and borne on the shoul- ders of satyrs and fauns from a hogshead of wine, ,near which children are drinking the juice of the grape ; three figures dancing on the right. Pen and bistre, washed. 308 Width , 1 3 t 8 2 - inches. Height, 9^1, inches. A young Female and Child about to perform their ablutions, a boy brings water from a river ; a man in the distance follow- ing the hounds. Entitled Adonis departing for the chase. Pen and bistre, heightened with white. 309 Height, 8 T 8 2 inches. Width, 7- r \r inches. Collection — Jonathan Eichardson, junior. GIOVANNI FRANCESCO GRIMALDI, called IL BOLOGNESE. Painter and Etcher. Born at Bologna in 1606, died at Borne in 1678, Landscape ; a river scene, men in the foreground about to load a boat with a tree which they have felled. Pen and sepia, 310 Width, L2 t 8 2 - inches. Height, 8 -fV inches. Collections — William Esdaile, Balpli Udney, and Bichard Cumberland. Study. Cattle, with herdsmen and a dog. Pen, on grey paper washed with sepia, and heightened with white. 311 Height, 8 /b inches. Width, 5j 4 2 inches. Back of the Church of St. Lorenzo, Rome. Signed, G. F. Bo- lognese. Pen and sepia. 312 Width, 20fL inches. Height, I1 T 4 2 inches. ANONYMOUS. King David, kneeling in an attitude of prayer, holding the harp with his left hand. Slight, in black chalk, on warm toned paper. 313 Height, 9y\- inches. Width, 6 j\ inches. Ascribed to Lionello Spada. Collection — Sir Joshua Reynolds. Adoration of the Shepherds. Drawn with the pen and red chalk, and finished with a wash of bistre. 314 Height , 21 inches. Width, 17y 2 inches. Ascribed to Guercino. Holy Family. St. Joseph at the feet of the Virgin, and St. Anne behind them. Pen, washed with sepia, and heightened with white. 315 Height, 7 inches. Width, 3 r y inches. Ascribed to Federigo Barocci. Collection — Padre Resta. 50 DRAWINGS. Anonymous — ( continued ). Head of Christ, life size. Black and red chalk on grey paper. 316 Height , 13 r :i j inches. Width , 1 inches. Ascribed to Guido Reni. Head of a Man, life size, and intended as a study for Christ ; the face is turned to the left, and nearly in profile, inclined for- ward. Black chalk, heightened with white. 317 Height , 12-j^ inches. Width , 10 inches. Ascribed to Guido Reni. Magdalen, standing apparently between two banks, with one hand on a skull, and gazing at a crucifix ; an angel hovering above. Pen. 318 Height , 16y 2 inches. Width, 9|A inches. Ascribed to Annibale Caracci. Collection — Earl of Arundel. This has been engraved in fac-simile by Arthur Pond. See the Print, No. 2710. St. Francis, who kneels in prayer, and devoutly gazes on a crucifix at his feet ; another monk seated against a rock in the back- ground intently looking towards the heavens. Pen on warm brown paper, heightened with white. 319 Height, 16f \ inches. Width, 11^ inches. Ascribed to Annibale Caracci. Sketch from Ovid. Metam. Book VIII., 747-748 : “Saepe etiam manibus nexis ex online trunci circuiere modum/’ Some Dryads with their hands joined dancing round an oak. Pen. 320 Width, 6 t 2 2 inches. Height, 4|t>- inches. Ascribed to Pietro Francesco Mola. Collections — Jonathan Richardson, junior, and Sir Joshua Reynolds. Cupids playing near a mash-tub containing grapes ; a naked man above. Slightly sketched in pen and bistre. 321 Width , 10f\ inches. Height , 7fy inches. Ascribed to Guercino. Male and Female Satyrs embracing while on their knees, another male Satyr also kneeling approaches them with a basket of fruit. Red chalk, and washed. 322 Width, ] 5 | .V inches. Height, 8 r y inches. Ascribed to Guido Reni. Collection unknown. — The letter W. Head of a Man, life size, with a full grey beard ; the face turned a little to the left, inclined forward, and with the eyes nearly closed. In crayons on grey paper. 323 Height , 1 3,’y inches. Width , 9/ 2 inches. Ascribed to Federigo Barocci. STUDY for a death-bed scene ; the face of a man whose eyes are cast down. Three-quarter view of the head, which is turned to the right. Crayons on grey paper. 324 Height, 9 }-■, inches. Width, 8y' ? inches. Ascribed to Federigo Barocci. BOLOGNESE AND GENOESE SCHOOLS. 51 Study. A man stooping and hammering a nail in a wall. Red chalk on warm toned paper. 325 Width, 8 T 8 2 inches. Height, 6 T 2 ^ inches. With arched top. Ascribed to Lorenzo Sabatini. Study of the nude figure of a man, half length ; seen from behind. Red chalk. 326 Height , 7 T a 2 - inches. Width, 5 T 8 2 inches. The top corners cut off. Ascribed to Annibale Caracci. Collections — John Barnard, Sir Joshua Reynolds, and Marquis Cholmondeley. Study of the head of a beardless man, life size, the face nearly in profile, and with a devout expression, the eyes being raised to heaven. Black chalk on grey paper, heightened with white. 327 Height, 10|4 inches. Width, 7 inches. Ascribed to Guido Reni. Design for a Cartouche ; an oval frame surmounted by a shell, the head of a man sketched in the centre. Pen and bistre. 328 Height , inches. Width, 3 ^ inches. Ascribed to Domenichino. Collection unknown. — The letter D. GENOESE SCHOOL. LUCA CAMBIASO, or CANGIAGIO. Born at Genoa in 1527, died at Madrid in 1585. Holy Family. The infant Christ stands in his mother’s lap with his arms extended, the infant St. John approaches them with a lamb ; the head of Joseph is behind. Slight and spirited sketch in pen and bistre. 329 Height, 8 T 2 2 inches. Width, 8 T 2 2 inches. Holy Family and the Magdalen, who is kissing and embracing the infant Christ, and kneeling at the foot of the enthroned Virgin. Joseph is reading behind, where a temple is intro- duced. Pen and bistre. 330 Height, 1 4 T 8 2 inches. Width, 1() T 2 2 inches. Virgin and Child; she leans forward caressing the child, cherubim stand above holding a banderole ; the whole group supported by clouds. Pen and bistre. 331 Height, 11 ^ inches. Width, 8 T 3 2 inches. Collection — Thomas Hudson. Virgin and Child, and St. Elizabeth, the latter seated with the former on the ground, and playing with the.infant Christ near a pedestal where a lamp is burning; Joseph is about to enter by a doorway holding a toy. Pen and bistre, washed. 332 Height, 8-JA inches. Width, 7 T 4 2 inches. 52 DRAWINGS. Cambiaso — ( continued ). Angels grouped in the clouds bearing the implements of the Passion. The upper portion of a large composition. The heads of many figures appear where the drawing has been cut, and in the centre is that of the Saviour, whose upraised hand is visible. Pen and bistre, washed. 333 Width , 15 T j inches. Height , 7 T ° 2 inches. Mary Magdalene, seated on the ground apparently reading from a book which is supported by a skull, and holding a small crucifix in her right hand. Pen and sepia on grey paper, washed and heightened with white. 334 Height , 7yW inches. Width, 9 r 8 ^ inches. St. Francis receiving the infant Christ from the Virgin ; he kneels at her feet, an angel stands in front of him. Very slight but spirited. Pen and bistre. 335 Height, 6}4> inches. Width, inches. Collection — Sir Joshua Reynolds. St. Michael overcoming and trampling on the Devil, and holding a sword to his face with one hand, and the scales in the other. Pen and bistre, washed. 33G Height, 13 r 2 y inches. Width, 9yy inches. Conversion of Saul. In a cloud above the Almighty with the Saviour. The saint is naked and has partially fallen under his horse. The soldiers are protecting their eyes with their arms, and one with his shield, from the dazzling light from heaven, while another is endeavouring to raise his fallen leader. Pen, washed with bistre. 337 Height, 17y.’ inches. Width, 13 inches. Collection — Benjamin West. Martyrdom of St. Sebastian, who is firmly tied to the tree. The archers drawing their bows, but no arrows appear excepting those in a sheath which lies on the ground. The Almighty above with a group of angels, one of whom holds the crown of martyrdom. Signed “ Lucas Cangiage.” Pen, washed with sepia. 338 Height, 20 /V inches. Width, 16 inches. Leda and the Swan, which she closely embraces, while it encircles her throat with his neck ; they recline on a bank supported by cushions. Slight, in pen. 339 Width, 9 inches. Height, 6yj inches. Statue of Mars standing on a pedestal ; he is armed with shield and spear, and is represented looking down from his elevated position. Pen and bistre. 340 Height, 1 3y ? inches. Width, 8yj inches. Venus dissuading Adonis from the Chase, Cupid watches the pair from behind the trunk of a tree. Pen, washed with bistre. 341 Height, 12-}-§ inches. Width, 8]T inches. GENOESE AND NEAPOLITAN SCHOOLS. 53 Rape of Deianira. The centaur galloping towards the right, with his prize locked in his arms. Pen and bistre. 342 Height , 12} inches. Width, 1 0^- inches. Escape from Hades. The gates thrown down and our first parents standing on one of them, while Christ seen from behind is assisting another person from a crowd waiting to be released from their unpleasant abode. Three devils hover above. Pen and bistre, washed. 343 Width, 1 1 T 8 ^ inches. Height, 8 T 8 2 inches. Rape of the Sabines. A triumphal arch in the distance through which horsemen are passing, to the left Romulus is standing enthroned, issuing his commands. Drawn with a pen, and washed with Indian ink. 344 Width, lSyg inches. Height, 7-/V inches. Collection — Jonathan Richardson, junior. Curtius about to leap into the chasm, spear in hand, to appease the wrath of the gods, for the safety of Rome. Drawing with a pen in sepia, and washes of the same colour have been added with a brush. Signed in full. 345 Width, 15 inches. Height, 10 T 8 ^ inches. GIOVANNI BENEDETTO CASTIGLIONE, called IL GRECHETTO. Painter and Etcher. Born at Genoa in 1616, died in 1670. Apollo and Daphne. Cupid, above, poising an arrow. Drawn with the brush, charged with bistre, tinted, partly in body colours. 346 Width, 15 inches. Height, 11 inches. Nymph surprised by Satyrs. Two children in the foreground. Drawn with the brush with bistre and tinted in parts with body colours. 347 Width, 20 T k inches. Height, 16^ inches. NEAPOLITAN SCHOOL. SALVATOR ROSA. Painter and Etcher. Born at Naples in 16] 5, died at Rome in 1673. Study of Female and Goats. Slight sketch. Pen and bistre, washed. 348 Width, 8 jTy inches. Height, 6 T 2 2 inches. Collections — Conte Francesco Algarotti and Thomas Thane. 54 DRAWINGS. Salvator Rosa — ( continued ). Another Study. A Soldier reclining, and appearing to address a companion. Pen and bistre, washed. 349 Width , 6y.v inches. Height , o-p 2 inches. Collection — Conte Francesco Algarotti. Sheet of Studies. A recumbent figure of a half-naked man, who raises his right arm as if to ward off a blow. On the reverse is a slight sketch of a very tall man, standing and praying to another person, who is seated on a stone, under a tree, with a book in his lap. Pen and sepia. 350 Width , I J.y inches. Height, 4 T G 5 inches. DOMENICO GARGIUOLO, called MICCO SPADARO. Born at Naples in 1612, died in 1679. Satyr and Nymph. Love chastised by a nymph, while a satyr holds him on his back. Pen and sepia. 351 Width , Tyy inches. Height , 6 T 2 2 inches. Collections — Padre Restit and Pierre Jean Mariette. GIOVANNI LORENZO BERNINI. Bora at Naples in 159S, and died in 1680. Design for the Interior of a Church, with the Descent of the Holy Ghost introduced: four bishops support the Papal arms near the altar. Pen and bistre. 352 Height, 13/y inches. Width, 9y 2 inches. LUCA GIORDANO. Painter and Etcher. Bom at Naples in 1632, died in 1705. Design for a Fountain. Cupid carrying a dolphin on a shell supported by naiads. Black chalk, washed with Indian i nk . 353 Height , 8 T 9 ? inches. Width, 5} !j inches. SEBASTIANO CONCA. Born at Gaeta in 1676, died in 1764. Virgin and Child enthroned, and with saints at her side and feet. Design for an altar piece. Black chalk and sepia, on warm grey paper. 354 Height, 20j 2 2 inches. Width, 13 inches. Skirmish ; swordsmen on foot attacking cavalry. With a spurious signature “ Luca Giordano,” Red chalk, slightly washed with bistre. 355 Width, 1 OyV inches. Height, 9[ 2 inches. Collection — Sir Joshua Reynolds. NEAPOLITAN, FONTAINEBLEAU, AND GERMAN SCHOOLS. 55 ANONYMOUS. Half-length of a Woman, holding a leveret by its hind legs and about to kill it with a blow of her right hand on the back of its head. A second, but slighter sketch to show the whole of the woman’s figure. Pen and bistre. 356 Height, 9,- 9 j inches. Width , 7 T 7 a - inches. Ascribed to William Hogarth. SCHOOL OP FONTAINEBLEAU. FRANCESCO PRIMATICCIO. Born at Bologna in 1490, died at Paris in 1570. Two Men standing and embracing ; they wear Roman costume, and recline their heads on each other’s shoulders. Black chalk on grey paper, heightened with white. 357 Height, 8^- inches. Width, 5 T °^ inches. Collections — Jonathan Richardson, senior, and Benjamin West. Subjects from the life of Abraham, in one composition. Pen, on salmon coloured paper, heightened with white. 358 Abraham commanded to go forth from Haran to Canaan. Sarah and her female friends seated in conversation on the prospect of her becoming a mother. Death of Abraham, his sons kneeling around his bed. Burial in the cave of Machpelah in the field of Ephron. Width, lo/g inches. Height, 11 inches. Collection — Padre Resta. GERMAN SCHOOL. MARTIN SCHONGAUER (ascribed to) Painter, Etcher, and Engraver. Bom at Culmbach in 1453, died at Colmar in 1499. Annunciation. A drawing of the time of Schongauer, but not fine enough for him in sentiment; showing a very curious treatment of the subject. The Virgin is seated at a reading-desk with hands crossed upon her bosom, a Gothic canopy behind her; the angel bringing a sealed paper, but not, as usual, a lily. An inner chamber is visible through a doorway, in which a bed is partially shown ; a lozenged window behind the angel. Pen and sepia, highly finished and washed in some parts. 359 Height, 7fV inches. Width, oj-J inches. Collections— Sir Peter Lely, John Duke of Argyll, Thomas Thane, and William Esdaile. 56 DRAWINGS. ANONYMOUS. Adoration of the Magi. A poor copy of a picture or print of the second half of the fifteenth century. The paper not older than 1600. Carefully executed with the pen. 360 Height , 7 t V inches. Width, 6 j 4 * inches. Ascribed to Martin Schbngauer. Two Nude Figures. A man holding a halberd in his right hand, and wearing a cap and feather, seen from behind ; a com- panion standing before him. On quite a modern wove paper. Pen and bistre. 361 Height, inches. Width, 6 inches. Erroneously ascribed to Albrecht Diirer. A Man on Horseback playing the Bagpipes. His sorry hack is slowly walking towards the right; also a study of the Virgin suckling the Child on the left in the corner at bottom. 362 Height, 10 T \ inches. Width, 7fV inches. Erroneously ascribed to Albrecht Diirer. See the near foreleg of the horse, Diirer never drew so badly as this. The paper of a much later date. Collection unknown — An oval shield of arms. HANS HOLBEIN. Born at Augsburg in 1495, died in London in 1543. Portrait. Head of a middle-aged man of noble aspect, the face in three-quarter view turned to the left. Black chalk and crayons on salmon-coloured paper. 363 Height , 14 inches. Width, 10| inches. Collection — Padre Resta. Capture of a City. A commander of a captured city kneeling to his conqueror ; soldiers plundering and prisoners leaving burning houses in the distance. Pen, and washed with Indian ink. 364 It has a spurious signature of Lukas van Leyden, and is wrongly ascribed to him. There is a companion drawing, belonging to the same series, in the Print Room of the British Museum Height, 13|| inches. Width, S/V inches. HANS BALDUNG GRUN. Painter and Engraver. Born at Gmiind in 1470 or 1476, died atf Strasburg in 1552. Horse lying down ; very Italian in treatment. Pen and bistre. The same design used in the print of the Conversion of St. Paul. Bartsch, “ Le Peintre Graveur,” vii., p. 31 1, No. 33. See the woodcut No. 1908. 3G5 Width, 16^ inches. Height, 6 ^ inches. Ascribed to Tiziano Vecellio. MELCHIOR LORCH. Designer and Engraver. Born at Flensburg in 1527, died in 1586. Council of Senators, in a semicircular building, the chief enthroned in the centre ; some females are approaching on the ri'dit. Signed and dated 1554. Pen, on brown paper, • heightened with yellow chrome, thickly laid on. 366 Width, 10}! inches. Height , 8 T V inches. GERMAN SCHOOL. 57 Woman and Child riding. An old woman and a child on a mare which is accompanied by its foal. Designed for the woodcut of the subject, but not quite identical with it, although the composition is in the same direction. In pen. • 367 Width , 7yg- inches. Height , 5 yW inches. Erroneously ascribed to Tiziano Vecellio. See the woodcut from the drawing No. 1911. ADAM ELSHEIMER. Painter and Etcher. Born at Frankfort in 1574, died in 1620. Moonlight Scene. The moon rising above trees on the bank of a stream, her reflection showing on the water. Signed. In distemper, heightened with white. 368 Width, 10 T 9