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A DESCRIPTIVE AND HISTORICAL CATALOGUE 
 
 OF THE 
 
 PICTURES 
 
 IN THE 
 
 DULWICH COLLEGE GALLERY 
 
 
CATALOGUE 
 
 OF THE 
 
 PICTURES 
 
 IN THE 
 
 DULWICH COLLEGE GALLERY 
 
 WITH 
 
 Diograpfjital ftotras of % |J writers 
 
 BY 
 
 JEAN PAUL RICHTER, Ph.D. &c. 
 
 AND 
 
 JOHN C. L. SPARKES 
 
 HEAD MASTER OF THE NATIONAL ART TRAINING SCHOOL, SOUTH KENSINGTON 
 DIRECTOR OF THE LAMBETH SCHOOL OF ART AND OF THE ART DEPARTMENT OF DULWICH COLLEGE 
 
 ‘The hearts of men which fondly here admyre 
 
 Faire seeming shewes 
 
 may lift themselves up higher, 
 
 And learne to love with zealous humble dewty 
 Th’ eternal fountaine of that heavenly beauty’ 
 
 Spenser, An Hymne of Heavenly Beauty 
 
 N 
 
 [ *>j> ©rbtt «f % ®otrentors ] 
 
 M- 
 
 I8B0 
 
 PRINTED BY 
 
 SPOTTISWOODE & CO., NEW-STREET SQUARE, LONDON 
 
 1880 
 
OR this, the Second Edition of the Catalogue, the Go- 
 vernors of the College have, at the suggestion of the 
 Council of the Royal Academy, secured the services 
 of Dr. Jean Paul Richter. He has re-written the 
 notices of all the foreign Schools of Art, which will be seen to 
 form the chief part of this work. On page ix. will be found a 
 letter from him, stating his views, and also the chief authorities 
 from whom he has drawn his information regarding the lives 
 of the artists. 
 
 Mr. Sparkes, author of the former edition of the Catalogue, 
 remains responsible for the notices of the British School of 
 Artists, as also for the measurement of all the pictures and for 
 most of the references as to the engravings of the pictures. 
 
 The greater number of the pictures in the Dulwich Gallery 
 were collected, before 1807, by the celebrated picture-dealer, 
 Noel Joseph Desenfans, 1 for Stanislaus, King of Poland. They 
 were originally intended for a National Gallery at Warsaw ; but 
 the subsequent misfortunes of the King, which ended in the 
 dismemberment of the Polish Kingdom, prevented the further- 
 ance of the design, and after the death of the King in 1798, the 
 pictures were left in possession of the Collector. 
 
 See notice of Noel Desenfans in body of the Catalogue, p. 107. 
 
VI 
 
 PREFA CE. 
 
 In 1802-3 Desenfans sold several of the pictures, 1 but added 
 considerably to the collection before his death, which took place 
 in July 1807. He left the whole of his pictures to Sir Peter 
 Francis Bourgeois, 2 who, it is said, acting on a suggestion made 
 to him by John Philip Kemble, made a will in 1810, by which 
 he directed that his pictures (subject to a life-interest of Mrs. 
 Desenfans) should become the property of the Master, Warden, 
 and Fellows of Dulwich College. He further left two sums of 
 10,000/. and 2,000/., for the care of the pictures, and for the 
 purpose of extending the West wing of the old College to pro- 
 vide for their reception. It is believed that he intended to have 
 made further provision for the immediate prosecution of his 
 desire to build and endow a Gallery at Dulwich, but he died 
 before these wishes could be fulfilled. 
 
 With a view to the due preservation of the pictures, his chief 
 executrix, Mrs. Desenfans, 3 generously left 500/. to the Master, 
 Warden, and Fellows of the College ; out of the interest of 
 which an Annual Dinner was to be provided for the President 
 and Council of the Royal Academy, on the occasion of their 
 official visit to the Gallery. She also left plate and linen for use 
 on the same occasions. 
 
 The Gallery was commenced in 1812, Sir John Soane being 
 the Architect; it was finished in 1814; and in September of 
 that year, just after the death of Mrs. Desenfans, the pictures 
 were removed from 11, Charlotte Street, Portland Place, to the 
 new Gallery at Dulwich. In March, 1815, the bodies of Mr. and 
 Mrs. Desenfans and Sir P. F. Bourgeois were placed in the 
 Mausoleum attached to the Gallery, in accordance with their 
 wishes. 
 
 1 See Appendix A, (Extracts from his Introduction to the 2-vol. Catalogue.) 
 
 2 See notice of Sir P. P. Bourgeois in body of Catalogue, p. 18. 
 
 3 See Appendix B. Extracts from the Wills of Noel Desenfans, Sir P. K. 
 Bourgeois, and Margaret Desenfans. 
 
PREFACE. 
 
 vii 
 
 The first Keeper of the Gallery was Mr. Ralph Cockburn ; he 
 was in charge of the pictures from October 1816, until his death 
 in 1820. He was an engraver, and published a set of prints in 
 mezzotint, or soft ground, coloured, of fifty of the pictures. 
 
 On January 26, 1821, Mr. Stephen Pointz Denning was 
 elected Keeper, and had the care of the Collection until his death 
 in 1864. Since that date the Governors of Dulwich College 
 have had charge of the Gallery, with the assistance of Mr. T. 
 F. Hodgkins, whose ready services have also been very useful 
 to the Editors of the Catalogue. 
 
 I11 using this Catalogue it is necessary to refer from the 
 painter’s name on the frame, to the corresponding name at the 
 head of the page in the Catalogue, where the order is alpha- 
 betical. 
 
 If the number only of a picture is known, reference must be 
 made to Table I. for the name of the artist corresponding to the 
 number. The Artists are arranged alphabetically, the pictures 
 of each painter being placed in order of supposed merit without 
 reference to numbers, 1 but a numerical index is given at the 
 end of the book. It should be added that the numbers on 
 the pictures having been attached to them since the foundation 
 of the Gallery, it has not been thought necessary to alter them 
 in any case, although in some respects it might be expedient to 
 do so. 
 
 In the descriptions of the pictures, the terms * right ’ and 
 ‘ left ’ refer to the right and left sides of the picture as seen by 
 the spectator when he is placed in front of it. 
 
 The material on which each picture is painted has been noted. 
 The size is measured within the frames as they now hang. In 
 
 1 The pictures by those artists, however, who are represented in the Gallery 
 by numerous specimens, namely, Berchem, Cuijp, Rubens, Teniers, Ph. Wouwer- 
 man, have exceptionally been arranged in a chronological order. — J. P. R. 
 
PREFACE. 
 
 vm 
 
 the case of pictures that have been enlarged, the original size is 
 given in addition to the present size of the frame. Where it 
 could be ascertained, the former price of the pictures has been 
 noted. It will be understood that as none of these are of later 
 date than 1810-12, they are given as mere matters of antiquarian 
 interest, and not as any indication of present value. 
 
THE GOVERNORS OF DULWICH COLLEGE. 
 
 Gentlemen, — In handing over to you the portion of 
 the Catalogue with which you have entrusted me, I desire 
 to make a few general remarks on the principles which I conceive 
 ought to guide, not only the critic, but also the ordinary spectator of 
 pictures such as those contained in your Collection. To this I have 
 added a note of the chief authorities uSed by me in this work. 
 
 Pictures by the Old Masters cannot be properly appreciated, nor 
 even done justice to, if they are judged by the same standard as modern 
 works. In examining old pictures it is necessary to take into considera- 
 tion not only the taste prevailing when they were painted, but also the 
 different principle on which each individual artist worked. We should 
 besides have a true conception of his aim and ideas. In no other way is 
 it possible to enjoy intelligently at one and the same time such diverse 
 works as those, for example, of Raphael and Rubens, or of Teniers and 
 Nicolas Poussin. An accurate knowledge of what was intended to be 
 portrayed is especially required in the case of the Dutch painters, who 
 all endeavoured, each in his own way, to represent Nature as she is. It 
 is for this reason that, in addition to the biographies of the Old Masters, 
 a short description of the chief characteristics of their respective styles is 
 added in this edition of the Catalogue. 
 
 In some instances, especially in the case of painters of the Dutch school, 
 the authentic biographical records we possess are very scanty. Some appa- 
 rently trifling family details have therefore been mentioned, but only when 
 these seemed likely to throw light on the life or abode of the artist. 
 The numerous researches in old archives made during the last twenty 
 years have proved that many of the statements to be found in dictionaries 
 •of painters and catalogues of galleries are not to be relied on as accurate. 
 The biographies given are of course more important as regards the 
 general history of art than in relation to the particular pictures in this 
 Gallery. 
 
 The information about the lives of Dutch masters, to be found in 
 Houbraken, ‘ Groote Schouburg der Nederlandsche Kunstschilders/ etc., 
 Amsterdam, 1718-21, and in Immerzeel, ‘ De Levens en Werken der 
 Hollandsche en Vlaamsche Kunstschilders, 5 Amsterdam, 1842-3, 3 vols., 
 
 a 
 
X 
 
 LETTER . 
 
 cannot generally be accepted as authentic, unless confirmed by a refer- 
 ence to Christian Kramm, c De Levens en Werken der Hollandsche en 
 Vlaamsche Kunstschilders,’ Amsterdam, 1857-63, 6 vols, and ‘Aan- 
 hangzel,’ Amsterdam, 1874 ; A. van der Willigen, ‘Les Artistes de 
 Harlem,’ Harlem, 1870; Victor de Stuer’s ‘Notice historique et 
 descriptive des Tableaux, etc., exposes dans le Musee royal de la Ha ye/ 
 LaHaye, 1874 • C. Vosmaer, ‘ Rembrandt, sa vie et ses oeuvres,’ seconde 
 edition, La Haye, 1877 ; W. Burger (Thore), ‘ Musees de la Hollande,’ 
 Paris, 1858-60, 2 vols., &c. The best authorities on the history of 
 Italian and Spanish art are too well known to those versed in the sub- 
 ject for it to be necessary to quote them here, except in a few instances. 
 
 In some cases valuable information has been derived from the art- 
 journals of France, Italy, Germany, Holland, &c. When no authority 
 is mentioned, it must be understood that the statement is based on data 
 of too varied and complex a character to be explained within the limits 
 of a catalogue. 
 
 A close examination of every picture, in order to determine its real 
 authorship, has led to the discovery of signatures and dates on several 
 pictures. , Some of these are by masters of whom little is known, such as 
 Pieter Wouwerman, H. Saftleven, Verwilt, and others, and they thereby 
 gain the importance of standard works. In the absence of any positive 
 evidence of this nature, the pictures have been compared with authentic 
 works of the several artists which exist elsewhere, my verdict respecting 
 them being chiefly affected by such comparison. Of the many altera- 
 tions which I have thus been forced to make, a portion only can be 
 regarded as novel, for in not a few instances my views coincide with 
 those adopted by Mr. Cockburn in the first Catalogue of this Gallery, 
 published about 1818. I hope that my alterations will meet with the 
 approval of connoisseurs. 
 
 I beg to acknowledge my indebtedness to Mr. George Scharf, 1 
 Director of the National Portrait Gallery, for valuable information on 
 the subject of two English portraits by van Dijck ; to Dr. Gustavo 
 Frizzoni, of Milan ; Dr. Wilhelm Bode, Assistant Director of the Berlin 
 Gallery; Dr. Karl Jufti, Professor of the University of Bonn; Mr. 
 Charles B. Curtis, of New York ; and Mr. W. H. James Weale, who 
 have aided me with some important suggestions in reference to the 
 Italian, the Dutch, the Spanish, and Flemish pictures. 
 
 It has been my endeavour to give the descriptions a scientific 
 character, and I have also added, where necessary, certain critical 
 observations which I hope may prove useful to visitors to the Gallery. 
 The object of these descriptions is not merely to state what there is in a 
 picture as an aid to memory, but also to supply the means of forming a 
 comparison between it and representations of the same subject, whether 
 
LETTER . 
 
 xi 
 
 in pictures, drawings, or etchings. Where pictures have a special histo- 
 rical or topographical interest besides their artistic value, the details 
 given have been extended so far as my knowledge and the time at my 
 disposal would permit. 
 
 As regards the history of the pictures, which always heightens their 
 value (see, for instance, Murillo, No. 248 ; Le Brun, No. 252 ; Watteau, 
 No. 197), I have to confess that there remains still much to be done in 
 the way of research before the Catalogue can be considered to have 
 assumed its final and definite form. 
 
 I am, Gentlemen, 
 
 Your obedient servant, 
 
 JEAN 
 
 PAUL RICHTER. 
 
 November , 1879 
 
 (Signed) 
 
LIST OF GOVERNORS. 
 
 1880 . 
 
 DULWICH COLLEGE, S.E. 
 
 * Rev. WILLIAM ROGERS, M.A.. Chairman. 
 
 * H. E. ADAIR, Esq. 
 
 R. F. ASH, Esq. 
 
 J. BRYCE, Esq., D.C.L. 
 
 W. BRITTAIN, Esq. 
 
 A. BOULDEN, Esq. 
 
 * C. CHURCHILL, Esq. 
 
 * Viscount ENFIELD. 
 
 * F. HOVENDEN, Esq. 
 
 * Captain BEDFORD PIM, R.N. 
 
 One Vacancy among the 
 
 * C. S. RO UN DELL, Esq. 
 W. H. STONE, Esq. 
 
 R. STRONG, Esq. 
 
 R. STAPLETON, Esq. 
 
 W. H. TREGO, Esq. 
 
 * G. L. TURNEY, Esq. 
 
 * R. WRENCH, Esq. 
 
 * W. YOUNG, Esq. 
 
 Chancery Governors. 
 
 Master of the College — Rev. A. J. CARVER, D.D. 
 
 All Names marked (*) are Picture Gallery Committee. 
 
CATALOGUE. 
 
 ALBANI. — School of Bologna. 
 
 Born 1578. Died 1660. 
 
 RANCESCO ALBANI was born at Bologna, March 
 17, 1578. His father, Agostino Albani, a rich silk- 
 merchant, had first intended his son to be a lawyer,, 
 and afterwards a merchant. But following his 
 inclination for art, the boy entered the studio of Denijs Calvaert, 
 of Antwerp, then the first painter in Bologna, where Guido 
 Reni became his friend. Later on he studied in the Academy 
 of L. Carracci, following the example of Guido, with whom he 
 afterwards competed. When both had settled in Rome, their 
 rivalry became the cause of personal enmity, and Albani joined 
 Annibale Carracci. He returned to Bologna in 1616, where 
 he married for the second time. In 1625 and 1630 he worked 
 at Rome, and in 1633 in Florence. He lost his fortune in the 
 later years of his life, which were embittered by discontent, and 
 died October 4, 1660. 
 
 His style is full of playful grace, and his figures display a 
 charming combination of the ideal and the sensual. He repre- 
 sents mostly mythological and religious subjects, and the quiet 
 happiness and peace of a retired life. He constantly used 
 members of his family as models, and held as of great impor- 
 tance the variety of his ‘concetti’ (motives). In his pictures he 
 was often assisted by his pupils, of whom he had a great number, 
 
 B 
 
2 
 
 ALBA NI—A L L OKI. 
 
 as Pier Francesco Mola and Gio. Batt. Mola, Carlo Cignani, 
 Andrea Sacchi, and others . 1 
 
 No. 165. {After Albani.) THE VIRGIN, CHILD, AND ST. 
 JOSEPH. In the centre, the Virgin sitting in front, with the infant 
 Christ on her lap. Bed garment and blue mantle ; brown headdress. 
 The Child is nude, sits on an amber- coloured cushion, and holds an apple. 
 The Madonna points with her left hand on the book, which Joseph holds . 
 open to the right. Bushes in the background. 
 
 On Copper. 1 ft. 1|- in. high ; 10 J in. wide. 
 
 A very similar picture by Albani, of about the same size, was in the 
 Orleans Gallery. It has been engraved by Lenglois le jeune. The attitude 
 of the Child recalls the infant Christ in Raphael's Madonna dei Candelabri. 
 
 No. 80. {After Albani.) SALMACIS AND HERMAPHRO- 
 DITUS. In the foreground a river, to the left Salmacis, the nymph i 
 of the pool, sitting on the bank ; in the centre, Hermaphroditus bathing ; 
 four Cupids scattered about. Large trees in the fore- and background. 
 
 On Canvas. 1 ft. 11^ in. high ; 2 ft. 5 in. wide. 
 
 The subject is taken from Ovid, ‘ Metamorphoses.’ An ancient copy 
 after the original by Albani in the Turin Gallery ; engraved in ‘ La Beale 
 Galleria di Torino illustrata da Boberto d’Azeglio.’ Torino, 1836, vol. i. 
 tav. xxi. pp. 134-137. 
 
 No. 87. ( School of Albani .) HEAD OE THE MA DONNA. 
 
 Turned to the right, the head in front, red garment, blue mantle, and I 
 white headdress. The left hand on her bosom ; the right not visible. 
 
 On Canvas. 2 ft. 1|- inches high ; 1 ft. 6f in. wide. 
 
 Albani’s manner is here to be recognised in the choice of the colours, j 
 and in the reddish tint of the flesh tones. Formerly erroneously attri- 
 buted to Andrea Sacchi, and by Hazlitt to Carlo Maratti. 
 
 ALLORL— Florentine School. 
 
 Born 1577 . Died 1621 . 
 
 RISTOFANO ALLORI — son of Alessandro di Cris- 
 tofano di Lorenzo Allori, who is sometimes called 
 Alessandro Bronzino — was born in Florence, October 
 17 , 1 577* He was a scholar of his father, and of 
 Santi di Tito — both followers of Michelangelo Buonarroti. Cri- 
 stofano Allori, however, soon joined Lodovico Cardi da Cigoli 
 
 1 March. Ant. Bolognini Amorim, Vita del celebre pittore Francesco Albani 
 {Bologna, 1837) ; Malvasia, Felsina Pittrice, ed. Zanotti (Bologna, 1841); Passeri, 
 Vite de ' Pittoi'i, &c. (Rome, 1777), pp. 275-298. 
 
ALLORI. 
 
 3 
 
 and Gregorio Pagani, who, in opposition to the Michelangelesqne 
 style, laid stress on the importance of studies from models and 
 on colour. While scrupulously conscientious in the pursuit of 
 his art, he was at the same time quite a man of the world in 
 society, and, moreover, a poet in the burlesque style of Bernini. 1 
 He entered a brotherhood, but only remained there a short 
 time. In the later part of his life he lived with Mezzafirra, 
 a courtesan. He died at Florence 1621. 
 
 Cristofano Allori is a less important artist than his father 
 Alessandro and his uncle Agnolo di Cosimo, called Bronzino. 
 He made several clever copies of Correggio’s 4 Magdalen,’ lying 
 on the ground. He painted but few pictures, and those chiefly 
 portraits, of small size, on copper. His principal scholars are 
 Zanobi Rossi and G. B. Vanni. 2 
 
 No. 343. {After Allori.) JUDITH HOLDING THE HEAD 
 OF HOLOFERNES, AND HER SERVANT. Judith, a sword in her 
 right hand, in her left the head of Holofernes turned to the left. She 
 is clothed in a yellow damask dress, a crimson and blue mantle, white 
 sleeves ; a white striped scarf around her waist. To the right, the ser- 
 vant of Judith, with a white headdress. Dark background. Three- 
 quarter length figures. 
 
 On Copper. 11^ in. high ; 9-f in. wide. 
 
 See Book of Judith, ch. 13, v. 10. 
 
 The original, life-size, is in the Pitti Gallery at Florence, No. 96. 
 According to Baldinucci it was executed for the Cardinal Alessandro 
 Primo. The head of Judith is a portrait of Mezzafirra, mistress of the 
 painter ; the servant represents her mother. 3 For the draperies of 
 Judith, the painter is said to have made studies for months : they are 
 very tasteful in their arrangement. The charm of fine colour is wanting, 
 and it is not as a whole an adequate rendering of the subject. 4 Judith is 
 here certainly a woman of whom it is doubtful whether she is capable 
 of any passion of heart, with swimming eyelids, full lips, and a decided 
 corpulence, with which her splendid attire harmonises remarkably well.’ 4 
 A smaller copy by the hand of the master is in the Gallery of the 
 TT ffizi at Florence (No 1180), and others in the Palazzo Corsini, Florence, 
 
 , the Palazzo Conestabile, Perugia, and the Belvedere Gallery, Vienna. 
 
 The copy before us has been attributed to Sebastian Bourdon (1616- 
 f 1671), a celebrated French painter of historical subjects ; but it was more 
 | probably painted in the studio of Allori. The original has been engraved 
 thirteen times. 
 
 I- . 
 
 [j 1 Rossini, Pitt. Ital. vi. 105. 
 
 2 Baldinucci, Opere (Milano, 1808), vol. x. 252-287 : Serie degli nomini i piu 
 illustri in Pittura, &c. vol. ix. 13-18. Lanzi, Storia Pittor . vol. i. 197, 220, 222. 
 
 ,j 3 Baldinucci, p. 271. 
 
 4 Burckhardt, Cicerone , translated by A. H. Clough (London, 1873), p. 243. 
 
 B 2 
 
Born 1631. Died 1708. 
 
 UDOLF BAKHUISEN, BACKHUISEN, or 
 BACKHUIZEN, son of Gerard Bakhuisen, town 
 clerk at Emden, Westphalia, was born in that town, 
 December 18, 163 1. 1 2 He was at first educated 
 as a writing-master, an art which at that time had a great re- 
 putation in Holland ; and afterwards, in 1650, entered the 
 house of the merchant Bartelet, at Amsterdam. Much impressed 
 by the liveliness of this great commercial town, he began to 
 draw, with the pen, in the harbour and on the beach, and then 
 visited the studio of the celebrated landscape-painter, Allart van 
 Everdingen (162 1-1675). 2 He also studied the sea-pieces of 
 Hendrik Dubbels . 3 While at Harlem in May 1680, he engaged s 
 himself to Anna Hooghe, a young lady of Amsterdam, to whom 
 he was married in the summer of the same year, she being his 
 second wife . 4 Fie died on November 17, 1708. 
 
 Bakhuisen was chiefly a marine painter. In the early part 
 of his artistic career he painted, with great taste, small views of 
 slightly agitated seas. Most of his later works are minute in 
 execution, and generally cold in effect. They were formerly 
 as highly estimated as those of Willem van de Velde, the 
 greatest Dutch sea-painter, whom Bakhuisen probably took for 
 his model. In general his pictures represent a stormy sea, with 
 
 1 The statements about Bakhuisen by Houbraken, Groote SJwuburgJi , ii. 263, 
 are trustworthy in their details, the writer and the artist being contemporaries. 
 
 2 A. van der Willigen, Les Artistes de Ua/n'lem ,p. 73. Compare also W. Bode, ] 
 i Die Schule von Harlem,’ in von Liitzow’s Zeitschrift fur Bildende Kunst , vol. vii., I 
 and the documents published by M. T. van Westrheene in the Notice des Tableaux ) 
 du Musee de la Haye (La Haye, 1874), p. 4. 
 
 3 W. Burger, Musees de la Hollande (Paris, 1858), vol. i. p. 160, and vol. ii. p. ] 
 150, denies that H. Dubbels was the master of Bakhuisen, probably in consequence 
 of confounding him with Jan Dubbels. 
 
 4 Christian Kramm, Be Levens en WerJ&en, &c. (Amsterdam, 1857), p. 43, I 
 erroneously states that Anna de Hooghe was his fourth wife. 
 
BAKHUISEN—BEECHE Y. 
 
 5 
 
 few ships, and a dark sky. For the sake of study, Bakhuisen is 
 said to have often ventured on the sea in most tempestuous 
 weather. Only occasionally he painted river and winter scenes . 1 
 He executed some etchings, of which thirteen are known . 2 His 
 drawings are not rare . 3 His pupils were Jan Klaez Rietschoof, 
 Hendrik Rietschoof, Michiel Maddersteg, Jan Dubbels, and 
 Pieter Coopse. 
 
 No. 75. BOATS IN A STORM. Some river fishing-boats have 
 been caught in a storm. Among them is a large boat trying to make 
 head against the wind, but is too near an old pier. Three small boats in 
 the foreground are in the same condition. A number of people on a 
 sandy bank behind the pier are making their way against the wind to 
 lend assistance to the endangered boats. A church tower and the top- 
 masts of small coasting craft in the distance to the right. On the left, 
 the open river is seen, with two fishing-boats beating down the stream. 
 The view on this side is closed by the river’s bank, on which is another 
 church. Dark storm-clouds, with a bright gleam of light on white 
 clouds to the right. 
 
 Signed, on the back of a boat, and dated on a floating plank, 1696. 
 
 LBA/KfiUi z 
 
 On Canvas. 2 ft. i in. high ; 2 ft. 7 in. wide. 
 
 BEECHEY.— English School. 
 
 Born 1753. Died 1839. 
 
 IR WILLIAM BEECHEY was born at Burford in 
 Oxfordshire, December 12, 1753. His father, intend- 
 ing him for the law, articled him to a conveyancer at 
 Stow, in Gloucestershire ; but the young man, dis- 
 liking the monotony of country practice, was shortly transferred 
 to the office of Mr. Owen, of Tooke’s Court, London. While 
 with this gentleman, Beechey became accidentally acquainted 
 with some students of the Royal Academy, whose studies so 
 charmed him, that he at once sought for and obtained a sub- 
 stitute to serve out his apprenticeship, and in 1772 was permitted 
 to enter the Royal Academy as a student. By the study of Sir 
 
 1 Specimens of these are in the Galleries of Copenhagen and Vienna. There 
 are portraits of him by himself, at Berlin and at Ludwigsburg. 
 
 2 Bartsch, Peintre- Graveur , iv. 27. 
 
 3 The British Museum possesses a fragment of one of Bakhuisen’s sketch- 
 books, dated 1698. 
 
6 
 
 BEECHEY. 
 
 Joshua Reynolds’ works, and by following the good advice of 
 his friend Paul Sandby, he soon made rapid progress, chiefly in 
 portraiture, painting small historical pictures and conversation 
 pieces in the manner of Zoffany ; but his first life-size portrait 
 was not painted until 1781, during his residence in Norwich,, 
 where he had lived five years. On his return to London, 
 Beech ey took Vandergucht’s house, 20 Lower Brook Street^ 
 but as his fame increased he moved into more fashionable 
 quarters. The patronage of the nobility led the way to Royal 
 patronage, and in the year 1793, when he was elected Associate 
 of the Royal Academy, he was appointed portrait-painter to 
 Queen Charlotte. In 1798 he was commissioned by George III. 
 to paint the large picture, now in Hampton Court, of the King 
 and Prince of Wales reviewing the Dragoons, which work so 
 satisfied His Majesty that he bestowed the honour of knight- 
 hood on the painter, who was then elected a Royal Academician. 
 Sir William Beechey was twice married, and had eight children : 
 one of his sons, Captain Beechey, R.N., was a distinguished 
 Arctic traveller ; another, W. H. Beechey, was known as the 
 author of the ‘Life of Sir Joshua Reynolds.’ 
 
 Sir William Beechey died at Hampstead, January 28, 1839. 
 Celebrated as a painter whose works are remarkable for truth 
 and simplicity, he was still more admired and esteemed as 
 an honest and honourable man, and his death caused much 
 regret. 
 
 No. 97 . PORTRAIT OF CHARLES SMALL PYBIJS, ESQ. 
 Mr. Pybus was a barrister-at-law and Member of Parliament for 
 Dover, and one of the Commissioners for the Office of Lord High 
 Admiral from 1791 to 1795. 
 
 On Canvas. 2 ft. in. high ; 2 ft. wide. 
 
 No. 153 . PORTRAIT OF JOHN PHILIP KEMBLE. The 
 face is seen nearly full. Grey ham, dark deep-set eyes, aquiline nose, 
 and firm, refined mouth. He wears a dark velvet coat and shirt-ruffles ; 
 hands crossed on a book, which rests on a table on the left. 
 
 On Canvas. 2 ft. 5 in. high ; 2 ft. wide. 
 
 This celebrated actor was the eldest son of Roger Kemble, the manager 
 of a company of comedians at Prescot in Lancashire, at which place he 
 was born in 1757. He was educated at Douai, and at an early age 
 showed his powers of elocution. Believing that his father intended him 
 for the priesthood, he returned clandestinely to England, and joining a 
 
BEE CHE Y—BEL UCCI. 
 
 7 
 
 travelling company, acted with great success at Liverpool, Edinburgh, 
 York, &c. In 1793 he appeared at Drury Lane in the character of 
 Hamlet. He was manager of Co vent Garden Theatre from 1802 to 1817, 
 when he retired from the stage, after a long and honourable career. 
 
 He died at Lausanne on February 26, 1823. 
 
 No. 356. PORTRAIT OF SIR P. F. BOURGEOIS, R.A. 
 The face is three-quarters, towards the left. Grey hair and whiskers ; 
 white cravat, shirt-ruffles, and waistcoat, and white ribbon belonging to 
 an order passes across it ; a dark coat, and red curtain background. See 
 his biography, p. 18. On the back of the panel on which this head 
 is painted is a sketch by Sir Joshua Reynolds, described under his name, 
 p. 131. 
 
 On Panel. 2 ft. 5^ in. high ; 2 ft. £ in. wide. 
 
 A. BELUCCI. — Venetian School. 
 
 Born 1654. Died 1726. 
 
 TONIO BELUCCI was born in 1654, at Soligo 
 on the Piave, near Venice. At first he studied and 
 worked at Venice; 1 later on he was called by the 
 Emperor Joseph I. (1703-1711) to Vienna, where he 
 was also employed under Charles VI. (1711-1740). From him, 
 and from other German princes, he received the title of court- 
 painter. In the year 1716 he came to England, from the court 
 of the Elector Palatine. A ceiling in Buckingham House was 
 decorated by him in 1722. He found a protector in the Duke 
 of Chandos. Being afflicted with the gout, he quitted England, 
 leaving a nephew, who went to Ireland and there made a fortune 
 by portrait-painting. 2 Antonio Belucci died at Soligo in 1726. 
 
 His pictures are especially appreciated on account of the 
 clever rendering of broad shadows ; they produce a delicate 
 effect, and their scheme of colour is bright and cheerful. 3 
 
 No. 365. ST. SEBASTIAN WITH FAITH AND CHARITY. 
 The dead body of the Saint (a three-quarter length figure), partly covered 
 with a red mantle, falls back into the arms of Faith, a female figure in 
 
 1 Della Pittura Veneziana Libri V. (in Venezia, mdcclxxi.), pp. 412-413 ; P. 
 Frederici Memorie Trevigiano su le Opere di Disegno (Venezia, 1808). It is impro- 
 bable that any relation existed between him and Pieter Molijn the younger, 
 called Tempests, who lived at Piacenza from 1684, and died there in 1701. 
 
 2 Walpole, Anecdotes of Painting , pp. 667-8. 
 
 3 Lanzi, Storia della Pittura , vol. iii. p. 217. 
 
s 
 
 BEL UCCI—BERCHEM. 
 
 white, who bends over and supports it with her right hand, whilst her 
 left holds a cup and a cross. To the left, a casque and piece of armour, 
 with an arrow. Charity, to the right, holds the Saint’s left hand in her 
 own, and delicately draws an arrow from his side with her right ; she 
 wears a golden cope lined with green. Golden-coloured clouds form the 
 background. The figures are life-size. 
 
 On Canvas. 4 ft. 8 in. high ; 4 ft. 4 in. wide. 
 
 Presented to the Gallery by the Rev. T. B. Murray, of Lincoln’s Inn 
 Fields, in April 1852. 
 
 A carefully executed work of the master. 
 
 BERCHEM.— Dutch School. 
 
 Born 1620. Died 1683. 
 
 ICOLAAS (or CLAAS) PIETERSZ BERCHEM 
 (or BERGHEM), son of Pieter Claesz, was born at 
 Harlem, September 1620. 1 His first instruction in 
 painting was received from his father ; afterwards he 
 entered the studios of Jan van Goijen, Nicolaas Moeijaert, Pieter 
 de Grebber, Jan Wils, and Jan Baptist Weenix. In June 1642 
 he became a member of the Guild of St. Luc, at Harlem. He 
 married the daughter of his master, Jan Wils. He is proved 
 to have been in Harlem in the years 1656, 1657, and 1670. 2 
 No authentic information exists about his visit to Italy ; 
 but that he was there at an early period can easily be recog- 
 nised by the views represented in his pictures. 3 He died on 
 February 8, 1683, at Amsterdam, and was buried there, in the 
 Westerkerk, on February 23. 4 
 
 Berchem painted chiefly landscapes, with shepherds and 
 cattle, rarely allegorical or mythological scenes. His land- 
 scapes are taken from the mountainous countries of Italy, and 
 the types and costumes of the figures therein represented 
 are also entirely Italian, although not copied direct from 
 nature. He probably painted most of his Italian landscapes 
 in Holland. What characterises him principally is a brilliant 
 and easy touch, with which he renders nature with more art 
 than exactitude. His design is clever and light, and his 
 
 1 A. van der Willigen, Les Artistes de Ilarlem , p. 77. 2 Ibid. 
 
 8 C. Kramm, Be Lerens en Werlten , p. 76. 
 
 * The Louvre Museum at Paris possesses a view of the environs of Nice 
 (NO. 17), signed ‘ C. Berchem.’ 
 
BERCHEM. 
 
 9 
 
 colouring rich and vigorous, but he is generally wanting in 
 harmony. As an artist, he appears to be more ingenious in his 
 conceptions than profound or true. Berchem often repeats the 
 same motives and figures with but little variation. He painted 
 the figures in pictures by Joris van der Hagen, Poelenburg, and 
 J. van Ruisdael ; and the landscapes for G. Dou’s figures. 
 There are also some etchings by him . 1 His scholars were : Jan 
 van der Meer de Jonghe, Hendrik Mommers, van der Bent, 
 Glauber, Karel du Jardin, Willem Romeijn, Guilliaume le Febre, 
 Claes Sijmonsz Schout, Soolmaker, and Jan Gerritzen. 
 
 No. 160. A ROAD THROUGH THE WOOD, WITH 
 FIGURES. On the skirts of a beech- wood is seen a fallen tree ; be- 
 yond, a path overflowed with rain-water. A red cow, driven by a woman 
 in a red skirt, black bodice, and white headdress, comes down a path- 
 way ; near her a man in conversation with her. Farther to the right 
 three cows, driven by a man, who is followed by a dog. Three large trunks 
 of ash -trees on the right, where two horsemen canter, splashing through 
 the water. The way turns from this side of the picture towards the left, 
 where it disappears behind the rough ground and boulders, which form 
 a bank on which smaller oak-trees grow. A cow walks alone up this 
 pathway. Cloudy sky. Signed below, on the right, 
 
 On Canvas. 3 ft. 10 in. high ; 2 ft. 10^ in. wide. 
 
 An early work, rich and lively in colouring, especially of the trees. 
 
 No. 209. A ROMAN FOUNTAIN, WITH CATTLE AND 
 FIGURES (‘ Le Midi ’). To the right, a Roman fountain. In the fore- 
 ground a kid and a goat, being milked by a milkmaid in a blue skirt and 
 yellow bodice, who converses with another milkmaid, in a red skirt, green 
 bodice, with white apron. A red and a white cow stand at the fountain, 
 where also a woman is engaged in washing. To the right, in the 
 middle ground, a woman on a donkey ; a man in slouched hat by her 
 side. A few other animals in the foreground. In the background, hills, 
 with a farm in the distance. The sky is partly covered with clouds. 
 
 Signed 
 
 On Panel. 1 ft. in. high ; 1 ft. in. wide. 
 
 1 Bartsch, Peintre- Graveur , vol. v. 
 
10 
 
 BERCHEM. 
 
 A masterpiece, full daylight and glowing with colour. It bears th© 
 traditional name of ‘ Le Midi/ 1 and is companion picture to No. 200. 
 
 Mentioned by Waagen. 2 
 
 Engraved by Dequevauviller and by It. Cockburn. 
 
 No. 200 . TRAVELLING PEASANTS IN A PLAIN (‘Le 
 Soir ’). In the foreground, a woman in a blue skirt, amber-coloured 
 bodice, on a donkey ; on the woman’s right a dog. On her left hand a 
 herdsman in leather jacket and slouch hat, who apparently shows her 
 the way. A woman fording a stream on the left, a baby in a bundle 
 at her back. Near her, cows and a goat. A herdsman in a blue cloak, 
 resting on his stick. In the middle distance, a cottage, mountains in 
 the background. Clear sky ; clouds on the hill. Signed 
 
 On Panel. 1 ft. If in. high ; 1 ft. 5| in. wide. 
 
 Companion picture to No. 209, known as ‘ Le Soir/ 3 but less impor- 
 tant than it. 
 
 Engraved by Dequevauviller and by R. Cockburn. 
 
 No. 132 . A FARRIER AND PEASANTS NEAR ROMAN 
 RUINS. A smith kneels and shoes a donkey, a red cow feeds out of 
 the donkey’s panniers. A herdsman behind points this out to a woman 
 on a donkey ; she is dressed in a blue skirt and amber-coloured bodice. 
 Behind her is another herdsman with a goad. A Roman vault in ruins, 
 covered with plants and hanging boughs. In the background, on the 
 left, two men are visible ; one nearing a white horse, the other asleep. On 
 the right a rocky path, on which is a woman on a donkey, with a child 
 in her arms ; a man by her side and a dog ; they are followed by a 
 shepherd. Sheep wander about the path, and by the side of a stream. 
 In the distance a country house and blue hill. Signed 
 
 On Canvas. 2 ft. If in. high ; 2 ft. in. wide. 
 
 A good specimen of the skilfulness with which Berchem, while in 
 Holland, during his second and later period, reproduced Roman ruins 
 and figures, after an adopted model. 
 
 1 See Smith’s Catalogue, No. 17. 
 
 2 Treasures of Art , vol. ii. pp. 343-344: ‘Some country people with their ( 
 cattle, among which a white cow is particularly striking, are assembled round 
 an elegant fountain. The bright light of the sun at noonday is here expressed) 
 with extraordinary skill. The colouring is equally deep and clear, the execu- 
 tion of wonderful precision and elegance. The distance and sky of this gem are 
 unhappily, much injured.’ 
 
 3 See Smith’s Catalogue, No. 18. 
 
BERCHEM—VAN BERGEN. 
 
 ii 
 
 No. 17 . PEASANTS FORDING THROUGH A STREAM IN 
 THE WOOD. In the foreground, the bank of a small stream, up 
 which a woman on a donkey is riding. A man on her left. Goats pre- 
 cede, and cows follow her. Below, a man is seen fording the stream, 
 with his sheep. On the farther bank, which is clothed with oaks and 
 alders, are a man, a cow, and a sheep. On the right, the stream, and on 
 the other side, trees. Stormy clouds show the gathering up of a wet day 
 settling into a fine evening. Signed 
 
 On Panel. 1 ft. 5 in. high ; 1 ft. 9^ in. wide. 
 
 Very clever in the distribution of strong light and broad shadows. 
 
 Engraved by R. Cockburn. 
 
 No. 198 . {School of Berchem.) THE LAUNDRESS NEAR 
 RUINS. In the foreground a pool, in which a kneeling woman washes 
 linen, and converses with another woman holding a basket of washed 
 clothes under her left arm. Behind the kneeling figure, on the left, are a 
 goat, a red and a brown cow, and a herdsman. In the background, to the 
 right, a ruin, with large blocks of stone and rank creepers, behind a part 
 of which a donkey’s head and a man’s face are partly seen. On the left 
 a valley and a hill ; cloudy sky. Signed 
 
 On Panel. 1 ft. 1-| in. high ; 1 ft. 5 in. wide. 
 
 Painted in imitation of Berchem ; the colour of a heavy brown tone, 
 and dull in effect ; the signature a forgery. 
 
 VAN BERGEN.— Dutch School. 
 
 Born (?) Died after 1690 (?) 
 
 IRK VAN BERGEN was an animal and landscape 
 painter in Harlem. The dates of his life are not 
 accurately known. 1 He worked as a painter during 
 the years 1661 and 1690, and painted in London 2 
 about the year 1675. 
 
 In his pictures Dirk van Bergen appears to be a follower of 
 
 1 The usual statement that he was bom in 1645 and died in 1689 is erroneous. 
 
 2 According to Pilkington. 
 
12 
 
 VAN BERGEN— DU BOIS. 
 
 Adriaen van de Velde, but without attaining to the latter’s taste 
 and delicacy of design and colouring. 
 
 No. 218. ANTIQUE MONUMENTS IN A PARK WITH 
 FIGURES. A courtyard outside an Italian town. Statues and a 
 fountain. In the centre cypress and olive trees ; cows, sheep, a bull and 
 a donkey loiter about; in the foreground, women and children, some 
 sitting and some walking ; in the back a convent ; blue sky. 
 
 On Canvas. 1 ft. 9£ in. high ; 2 ft. f in. wide. 
 
 This picture has previously been ascribed to Jacob van der Does, and 
 also to Karel du Jardin. But landscape and animals prove clearly the 
 influence of Adriaen van de Velde, whose only scholar was Dirk van 
 Bergen. The figures, however, are evidently painted by a different artist, 
 whose colouring is more variegated. 
 
 DU BOIS.— Dutch School. 
 
 Born (?). Died 1680 . 
 
 UILLAM (WILLEM) 1 DU BOIS was a landscape- 
 painter in Harlem. Very little is known of his life. 
 In 1646 he was received into the painters’ guild of 
 Harlem, and in the autumn and winter of 1652-3 
 he travelled for study up the Rhine to Switzerland and back 
 again in company with Vincent Laurensz van der Vinne, 2 Cornelis 
 Bega, and Theodor Helmbreker. He died in July 1680, at 
 Harlem. 3 
 
 G. du Bois belongs to the school of Harlem. In simplicity 
 and choice of subject his landscapes come nearer to the conception 
 of Hobbema than of J. van Ruisdael. The colouring of his 
 pictures is very green, and, in his later time, more of a bluish 
 green, with rather sombre lights. He chiefly represents views of 
 the Rhine and its affluents. 
 
 No. 157. A VIEW IN THE RHINE COUNTRY. In the fore- 
 ground, small bills covered witb wood, which descend towards the middle 
 
 1 Guillem is the only Christian name given in the documents. His monogram 
 Cdois (the letters C and D being contracted) has been often misunderstood, and 
 been arbitrarily made to stand for Cornelis. 
 
 2 Ch. Kramm, Be Levens enWerken , iii. p. 195 : ‘ V. L. van der Vinne.’ 
 
 3 A. van der Willigen, Les Artistes de Harlem, p. 84, s. 84. W. Bode, ‘ Die 
 Kiinstler von Harlem,’ in von Liitzow’s Zeitschrift fur Bild. Kunst, vii. pp. 278, 347. 
 
DU BO IS— BOLOGNESE SCHOOL. 
 
 13 
 
 plain, where a river occupies the traverse width of the picture. Beyond 
 it a hilly bank ; on the left, a castle with towers. On the pathway lead- 
 ing towards the building a rider, a woman carrying pails, and a man 
 driving two pack-donkeys followed by a dog. Grey sky with clouds. 
 
 On Canvas. 2 ft. 6|in. high ; 3 ft. 3 in. wide. 
 
 The picture was labelled ‘ Unknown/ when left to the Gallery, and 
 so remained till about 1874, when the signature, ‘ Hobbema/ was dis- 
 covered. This signature, however, is no doubt a forgery, and the picture 
 has now been attributed to Du Bois, as it shows all the characteristics 
 of the style of his later period. 
 
 BOLOGNESE SCHOOL. — Unknown Artists. 
 
 ODOVICO, AGOSTINO, and ANNIBALE CAR- 
 RACC 1 founded at Bologna, in the year 1589, an 
 Academy, which influenced Italian art during the 
 seventeenth century. The object of this school was 
 to reform the fine arts where true forms had been lost and 
 were replaced by conventional expressions. The principle of 
 the Bolognese School was eclecticism. This eclecticism, how- 
 ever, contains a contradiction in itself, if its object was to unite 
 in one work the special qualities of Michelangelo, Raphael, 
 Titian, and Correggio ; for it was the copying and imitation of 
 the special qualities of single great masters which had produced 
 the mannerism it now sought to avoid. But in the new school of 
 Bologna the adoption of the various most renowned artists’ 
 principles became harmonious and intelligent. Some of the 
 pictures of this school are painted in the manner of Paolo 
 Veronese, others of Titian, and the influence of Correggio is seen 
 in all. This relation, however, only becomes complete remi- 
 niscence in exceptional cases, and never sinks into spiritless 
 imitation. The most renowned artists of this school, besides 
 the Carracci, were — Guido Reni, Domenichino, Albani. 
 
 The following pictures have been painted by unknown artists 
 of the Bolognese school : — 
 
 No. 328. SALVATOR MUNDI. The infant Christ, in purple 
 dress and blue cloak, holds the blue sphere in his hand; a reddish nimbus 
 around the head ; half-length figure, turned to the right, and looking 
 towards the spectator ; life-size. Brown background. 
 
 On Canvas. Circular, 1 ft. 1\ in. in diameter. 
 
 Formerly ascribed to Guercino. 
 
14 BOLOGNESE SCHOOL.— VAN BORSSOM. 
 
 No. 334. ST. CECILIA PLAYING ON THE ORGAN. The 
 Saint seated, and singing to the notes of an organ, on the left ; purple- 
 grey dress ; green mantle lined with orange ; red drapery behind her ; 
 angel-boys above. Whole-length figure ; life-size. In the foreground a 
 lyre, some books, sheets of music, &c. 
 
 On Canvas. 7 ft. in. high ; 4 ft. 7 in. wide. Original size, 5 ft. 8 in. 
 high, and 4 ft. 2 in. wide. This picture has been added to at the top and bottom 
 and side, and these parts repainted, it is said, by Sir P. F. Bourgeois. 
 
 Formerly ascribed to Annibale Carracci. 
 
 VAN BORSSOM. 
 
 Born 2 nd part of 17 TH Cent. Died (?) 
 
 BRAHAM VAN BORSSOM 1 was a scholar of Rem- 
 brandt during the last period of this great artist. 
 There is absolutely nothing known about his life. 
 It is supposed that Anthony van Borssom, a painter, 
 was his father . 2 
 
 Abraham van Borssom was a clever landscape-painter, and 
 skilful in perspective representations. 
 
 No. 176. CATTLE IN A POOL. An open, swampy-looking 
 country, with a slight rise in the ground towards the right, is intersected 
 with hedges. A cottage, near a wood, covers in the left side of the pic- 
 ture. Six cows are being driven home by a boy with a stick. They 
 walk through water that has accumulated in the road and across the 
 gate they are about to pass through ; a black dog looks back towards a 
 scatter of sheep. A cut-down stump of a tree is in the foreground. The 
 whole country is soaking ; a wet rainy sky, with a promise of finer 
 weather on the left. 
 
 To the left, in the foreground, a pool and seven cows ; behind it, a 
 forest and a farm ; to the right, an extensive landscape, with a dog in the 
 foreground ; sheep, a rider, and some other figures, in the distance. To the 
 right, a broad hill in the background ; cloudy sky. 
 
 On Canvas. 3 ft. 7|- in. high ; 5 ft. £ in. wide. 
 
 Very careful in execution. 
 
 1 By Kramm, p. 77, and Immerzeel, p. 126, his name is mentioned as being A. v. 
 Borssum ; by Vosmaer (j Rembrandt, sa vie et ses oeuvres , p. 317), as being A. van 
 Boresum, or Borssem. In the Print-room of the British Museum, however, are to 
 be found a series of drawings by this master, of which two are clearly signed — A 
 v. Borssom, and one, A. v. Borsom. 
 
 2 Be jVavorscher, xii. hi, 180 ; Kramm, Aanhangsel , p. 20. 
 
JAN BOTH. 
 
 15 
 
 BOTH.— Dutch School. 
 
 Born about 1610. Died after 1662. 
 
 N BOTH, son of Dirk Both, was born at Utrecht 
 about 1610. He received his first instruction from 
 his father, a painter on glass ; afterwards he entered 
 the studio of Abraham Bloemaert, head of the 
 school of Utrecht. When still a youth he wandered through 
 France to Italy, and settled for some time in Rome, where he 
 formed his style on that of Claude Gelee, called Claude le Lor- 
 rain, who was about ten years older than himself, and who had 
 resided permanently in Rome since 1627. Sandrart states that 
 Jan Both had painted for him before his departure from Hol- 
 land (1644) : he consequently must have then already returned 
 from Italy. 1 
 
 In the year 1649 Both was one of the chiefs of the Painter’s 
 Guild at Utrecht. 2 He died there after 1662. 3 
 
 The landscapes of Jan Both are almost always Italian, but 
 they are truer to nature in their forms than the ideal composi- 
 tions of Claude. They owe their great repute to the glowing 
 power of their colouring, especially to the striking effects of the 
 light and the soft golden tone, which is particularly predominant 
 in the seeming fragrance of the atmosphere. But in this respect 
 the landscapes of J. Both have a closer resemblance to the Dutch 
 views of A. Cuijp than those of Claude. The figures in his 
 pictures are generally painted by his brother Andries. Willem 
 de Heusch is considered to be his pupil. 
 
 1 Sandrart, Teutsche Academic (1675), chap, clxxxv. 
 
 2 In the Archives of Wijk-bij-Duurstede, M. Victor de Stners found a document 
 signed by Jan Both, which proves this fact. See Notice des Tableaux du Musee de 
 la Haye (1874), p. 18. 
 
 3 The year 1650 has been hitherto accepted without sufficient reason as the 
 date of Jan Both’s death, notwithstanding that the engraved portrait of him in 
 C. de Bie, Het Guldencabinet , p. 157, published at Antwerp in 1662, bears the 
 following inscription : — ‘ Jean Both, good and well respected landscape-painter, 
 staying now at Utrecht, his native town.’ 
 
1 6 
 
 ANDRIES BOTH. 
 
 NDRIES BOTH, a little older than Jan, received in 
 his youth the same instruction as his brother, and 
 went with him to Italy. He was chiefly a figure- 
 painter. In Rome he adopted the style of Pieter 
 van Laar, called Bamboccio, who resided there until 1639. -Before 
 Andries returned to Holland he worked for some time with his [ 
 brother at Venice ; 1 but died, by drowning in a canal, before 
 1644. 2 
 
 Pictures entirely painted by Andries Both are very rare. A 
 few etchings by him still exist. His drawings contain ingenious 
 and humorous compositions of figures. 3 
 
 No. 86. A MOUNTAIN PATH. In the centre of the fore- 
 ground a brook ; high trees to the right. A sandy mound is crowned 
 by a huge Tor. Behind this, a line of hills ; a road on the left leads 
 into a plain. On it peasants travelling, two on donkeys, one driving a 
 cow. In the centre, two men, who lead and drive a white horse across 
 the stream. Clear sky, with clouds over the hills. Signed 
 
 On Canvas. 2 ft. 4 in. high ; 3 ft. 7 in. wide. 
 
 This picture is of extraordinary power in its colouring ; Jan Both 
 appears here rather as a Dutch painter than as a follower of Claude le 
 Lorrain. Probably an early work. 
 
 Mentioned by Waagen. 4 
 
 The following landscapes (No. 30, 41, 199, 205) by Both are evi- 
 dently painted under the influence of Claude le Lorrain. They are, like 
 No. 36, very good specimens of the painter’s skill. Nos. 199 and 
 205 represent landscapes in evening light, immediately after sunset. 
 They are particularly conspicuous by the masterly treatment of broad 
 masses of light. 
 
 1 Sandrart, Tentsche Academie, chap, clxxxv. 
 
 2 This occurrence has till now been erroneously put in the year 1650, contrary 
 to the statements of Sandrart, who certainly is deserving of credit in this matter, j 
 Dr. Meyer and Dr. Bode have first drawn attention to this fact in the new Cata- ] 
 logue of the Berlin Gallery (Berlin, 1878), p. 43. 
 
 3 A collection of them is to be found in the British Museum. 
 
 4 Treasures of Art, vol. ii. p. 344 : ‘A rich, carefully-executed picture, of great 
 clearness in the evening light.’ 
 
AN DRIES BOTH. 
 
 1 7 
 
 The following pictures are painted in the style of Rubens by his 
 scholars or imitators — 
 
 No. 30 . ITALIAN LANDSCAPE. A wooded bank reaches from 
 right to left. In the foreground a man washing his feet in a pool ; near 
 him another man, a dog, three cows to the right ; a man baiting three 
 pack-mules from a box of hay. The road is bordered with bushes. A 
 slope in a park half conceals a house behind trees. 
 
 Blue fair-weather distance and summer sky. Signed 
 
 On Canvas. 1 ft. 9 in. high ; 2 ft. 1 in. wide. 
 
 Engraved by R. Cockburn. 
 
 Smith’s Catalogue, No. 113. 
 
 No. 41 . A PIECE OF ROUGH GROUND WITH A VIEW 
 ON A LAKE. A brook finds its way through stony puddles, and is 
 lost in the foreground. Behind it a bank, on which are some trees. 
 Hills in the distance. The lake is to the left; on its shore a village. A 
 man drives a laden donkey and a cow ; and is followed by another man 
 with two cows. Farther back still, two men converse; another, with 
 a bundle over his shoulder, advances towards the bank. The sun is on 
 the right ; bright summer, with filmy clouds flying about. 
 
 On Canvas. 1 ft. 9£ in. high ; 2 ft. 2^ in. wide. 
 
 In this picture the figures have not been painted by Andries Both. 
 
 No. 199 . ITALIAN LANDSCAPE. On a road is a waggon, 
 drawn by two oxen. The immediate foreground is occupied by a 
 donkey lying on the ground, and a red mastiff sniffing. Behind them a 
 man drives a grey horse. The bank on the left is covered with copse- 
 wood and small timber trees. The middle distance is a warm ochre- 
 coloured heathery hill, with a small castle tower on its top. A blue 
 mountain in the back ; summer sky with evening light, and filmy clouds. 
 Over all is a delicate effect of hot weather. 
 
 On Canvas. 1 ft. 7 % in. high ; 1 ft. 3f in. wide. 
 
 Engraved by R. Cockburn. 
 
 Smith’s Catalogue, No. 114. 
 
 No. 205 . A ROAD NEAR THE EDGE OF A LAKE. A 
 road receding from the front of the picture passes by the edge of a lake, 
 the water of which is hidden by a clump of dark bushes at the left 
 edge ; a stretch of meadow with hedges, and a grey hill in the distance. 
 In the foreground a man waters a pack-horse from a pail. A man on 
 horseback. In the middle distance, another with three cows. A clear 
 summer evening sky. 
 
 On Panel. 1 ft. 5^ in. high ; 1 ft. 3 in. wide. 
 
 Engraved by R. Cockburn, and by Barns ; in the Poullain Collection. 
 
 Smith’s Catalogue, No. 115, where it is valued at 80 guineas. 
 
 C 
 
i8 
 
 BOURGEOIS . 
 
 BOURGEOIS. — English School. 
 
 Born 1756. Died 1811. 
 
 IR PETER FRANCIS BOURGEOIS was born in 
 St. Martin's Lane, London, 1756. He was descended 
 from a Swiss family of good position, who came to 
 reside in England in consequence of reverse of for- 
 tune. Bourgeois’s father carried on the trade of a watchmaker, 
 and, as he became rich, determined to place his son in the y 
 army. This intention was strengthened by the promise of a 
 commission by Lord Heathfield, and young Bourgeois attended 
 drill, parade, and reviews. At this time, however, the influence 
 of Noel Desenfans had decided his choice : he determined to be 
 a painter ; and receiving the approval of Sir Joshua Reynolds 
 and Gainsborough for some early productions, he placed him- 
 self under the instruction of Loutherbourg, where he quickly , 
 acquired sufficient knowledge to bring him some reputation as a | 
 painter of landscapes, battle-scenes, and sea-pieces. In 1776 he : 
 left England to travel through Italy, France, and Holland, and 
 on his return exhibited several of his works in the Royal 
 Academy. Having visited Poland while on his journey, he was 
 favourably received by the King, who conferred on him the 
 Order of Merit, which knighthood was subsequently confirmed 
 by George III. In 1788 Sir Francis was made an Associate of 
 the Royal Academy, and in 1793 he was elected a full member ; 
 and shortly after, while yet in the full vigour of life, he retired 
 from the active pursuit of his profession to occupy himself in 
 the arrangement of the collection of pictures bequeathed to him] . 
 by his friend Noel Desenfans. The death of Sir Francis Bour- 
 geois was caused by a fall from his horse, January 8, 1811, anc 
 his remains are deposited in a mausoleum attached to the Dul 
 wich Gallery, with those of his friends Mr. and Mrs. Desenfans 
 Bourgeois was chief landscape-painter to George IIP, and har 
 received the appointment of painter to Stanislaus, King of Polanc 
 
 No. 4 . LANDSCAPE AND CATTLE. A winding river. 0 
 the nearest bank some cows are wandering down towards the water 
 three cows and a calf are already standing in it. The hank across tt 
 
BOURGEOIS. 
 
 19 
 
 water, on the left, has a clump of alders, and the distance beyond and 
 to the right is made up of fields, which pass into low hills. A grey sky, 
 with a stormy cloud in the left top corner of the canvas. 
 
 On Canvas. 2 ft. 9^ in. high ; 4 ft. 8|- in. wide. 
 
 No. 20. A FRIAR KNEELING BEFORE A CROSS. The 
 kneeling figure is on a mountain side. An arm of the cross sticks out 
 on the left edge of the picture. 
 
 On Panel. 6 in. high; 4J in. wide ; arched top. 
 
 No. 23. VIEW ON THE SEA-SHORE. A low cliff or bank, of 
 earthy form and texture, runs in perspective from the middle of the right 
 side of the picture to the horizon near the left side. A team of two oxen 
 yoked, and a horse leading, pull a waggon up the edge of the cliff, and are 
 seen against the sky. The beach forms the foreground. On a portion 
 rather raised from the general level, there is a man on horseback, with 
 another apparently coercing a loose horse, and farther to the right 
 another man, mounted, is leading a second horse ; these are cut off by 
 the edge of the canvas. A grey stormy sky; grey-blue towards the 
 cliff. 
 
 On Canvas. 3 ft. 3 in. high ; 4 ft. f in. wide. 
 
 No. 24. SOLDIERS. (A sketch.) An officer, in white trousers, 
 green coat, hat and feathers, steps across the picture, his sword in his 
 left hand ; with his right he points the way onward to a round-headed 
 soldier, who climbs up the bank on which his officer stands. 
 
 On Panel. 6 in. high ; 4£ in. wide. 
 
 No. 25. A MAN HOLDING A HORSE. A spirited sketch. A 
 man in the dress of a cavalier holds a prancing horse, whose head is from 
 the spectator. 
 
 On Canvas. 8 in. high ; 6 in. wide. 
 
 No. 38. LANDSCAPE WITH CATTLE AND FIGURES. A 
 mound is the middle object : on it a bull, two cows, a calf, and some 
 sheep. The arm of a lake flows up to the base of the mound on the left. 
 On the right, and this side of the mound, a group of three cows and the 
 head of a fourth are seen. A birch-tree is in the right corner. A boy 
 with a stick, quite in the corner, encourages two dogs to play. The lake 
 is in the middle of the picture ; on its distant margin is a castellated 
 building, with a bridge near it, and beyond is seen a rising country, 
 which ends against the sky in a low hill like a down or moor. Clear 
 sky, but filmy towards the right. 
 
 On Canvas. 3 ft. 3J in. high ; 4 ft. 1 in. wide. 
 
 No. 57. RELIGION IN THE DESERT. A female figure in 
 white drapery reclines, with extended arms, on a sea-shore. The water 
 is breaking among boulders and rocks on the left. Cliffs rise above her 
 head on the right. A cup and crown of thorns are on the sand by her 
 side. A dark, nearly black sky. 
 
 On Canvas. 3 ft. in. high; 3 ft. 11| in. wide. 
 
 C 2 
 
20 
 
 BOURGEOIS. 
 
 No. 59 . LANDSCAPE WITH CATTLE. {After A. Cuijp.) On 
 the left is a large heavy clump of trees, under which, but towards the 
 edge of the picture, in shadow, are two sheep and two cows, these latter 
 cut off by the frame. A bank or edge of foliage extends across the 
 middle distance of the picture, quite to the foot of an earthen bank 
 or scar, on the right side of the composition. A road passes into the ; 
 picture from the foreground edge, and on the dried-up grass at its margin 
 a flock of ten sheep is grazing or resting, all in the sunlight. On a bank 
 in the right corner of the picture, a shepherd sits and takes off the boot 
 from his right foot, which is across his left knee for this purpose. His 
 dog is near him, but cut off at the middle by the picture-frame. His hat 
 and spud are on the ground near him ; he is dressed in brownish coat, 
 with legging-breeches ; a red drapery passes over his right shoulder. The 
 distance is of fields and earthen, bank-like hills, under a clear, grey, fine- , 
 weather sky. 
 
 On Canvas. 2 ft. 7 in. high ; 3 ft. 6|- in. wide. 
 
 No. 74 . LANDSCAPE WITH FIGURES. A cavalier in a red 
 jacket, mounted on a grey horse, rides into the picture on the left. A 
 soldier in helmet, breast-plate, and cuisses, with yellow leg coverings, 
 holds a white flag with a red corner, and converses with the horseman. 
 
 A soldier lies on the ground ; a buckler is beside him. A blasted beech- 
 tree on the right ; behind, a dark hill and cloudy, humid sky, with a 
 peep of blue distance. 
 
 On Canvas. 2 ft. \ in. high ; 2 ft. 5f in. wide. 
 
 No. 82 . A FUNERAL PROCESSION OF WHITE FRIARS. K 
 The background is mountainous ; in the middle distance a lake is seen ; lo 
 clouds are down on the hills. The procession comes out from a beech- 
 wood on the right. The first part reaches the left margin of the canvas 
 and is led by three boys with candles, followed by one with a crucifix; 
 then a friar with a book, chanting ; then four other friars carrying the 
 bier, on which the dead body is placed. This is followed by the rest of 
 the procession, which has not quite emerged from the wood. 
 
 This picture was No. 179 in Desenfans’ Catalogue. 
 
 On Canvas. 4 ft. 4 in. high ; 6 ft. 9 in. wide. 
 
 No. 88. A TIGER HUNT. A rough rocky mountainous district, 
 with blasted pines scattered about, serves as background for the picture. 
 In the foreground a man in a turban, red jacket and green trousers, 
 mounted on a piebald horse, spear in hand, plunges at a small tiger ; dogs- 
 are on the left. Behind is a brown horse, riderless, a man on foot, and 
 another killed, lying with his head towards the spectator.' A second 
 small tiger springs on his body. 
 
 On Canvas. 3 ft. 8^ in. high ; 4 ft. 7 in. wide. 
 
 B: 
 
 4 
 
 fc 
 
 No. 91 . A SKETCH. Two girls are reading under the shade o 
 large trees, the trunks of three of which are close to them. Behind then 
 are sheep, and in front is the sheep-dog, all in peaceful mood. A youm 
 man is on the left, lying face downwards, his head on his hands, hi; 
 
 i 
 
BOURGEOIS. 
 
 21 
 
 elbows on the ground ; he looks up to the girls’ faces. A large tree-trunk 
 occupies the left foreground. A blue grey sky. 
 
 On Canvas. 1 ft. 5 in. high ; 2 ft. 6 in. wide. 
 
 No. 95 . TOBIT AND THE ANGEL. The angel, in white, 
 presses on with the young Tobit, in red, who carries a fish in his left 
 hand. Dark sky and distance ; a brown picture. 
 
 On Panel. Circular, 7f in. diameter. 
 
 No. 96 . LANDSCAPE AND CATTLE. Two cows; one, a red 
 1 cow, is lying down, while another, somewhat to the right, is grazing. A 
 ' bank of earth, a pool, and a clump of trees, with a cloudy white sky, 
 make up the composition. 
 
 On Canvas. 1 ft. 9 in. high ; 1 ft. 5 in. wide. 
 
 No. 109 . A SKETCH. Troopers are crossing a bridge. An officer 
 rides after them ; he has a red coat, and rides a grey horse. Grey sky. 
 
 On Canvas. 1 ft. 2§ in. high ; 2 ft. If in. wide. 
 
 No. 127 . CUPID. A child on a sea-shore fingers the point of an 
 i arrow ; a quiver and bow lie under him. Behind, all is dark cloud. 
 
 On Canvas. 1 ft. 7 in. high ; 2 ft. 8 in. wide. 
 
 No. 368 . POKTBAIT OF SIB PETER FRANCIS BOURGEOIS, 
 !, Kt., R.A., founder of this Gallery. The head is a three-quarter view, 
 
 ; looking towards the right, painted in a grey key ; white cravat, brown 
 !■ coat. A painted oval in a square frame, 
 is On Canvas. 1 ft. lOf in. high; 1 ft. 7f in. wide. 
 
 * No. 370 . A VIEW ON THE SEA-SHORE. A team of three 
 i grey horses, harnessed to a cart, are on a mound of sand ; two men 
 load the cart with sand. A man on one horse chasing another is 
 seen to the left, down by the water’s edge. The sea is behind all ; a 
 sunset effect over it. The right margin of the picture closed by a huge 
 day-bank. 
 
 it On Canvas. 2 ft. 10f in. high; 4ft. 8f in. wide. 
 
 flr 
 
 s, No. 371 . SACRIFICE (of Iphigenia 1) In foreground, by a 
 gs tripod, is a bearded priest ; the victim, a young girl with bare shoulders, 
 id kneels on the right, her hands clasped before her submissively ; women 
 id are weeping in the distance. An eagle swoops across the picture, and 
 with his beak snatches away the knife which the priest holds in his 
 hand. A bull is seen in the distance on the shore of a lake. 
 
 On Canvas. 3 ft. in. high ; 1 ft. Ilf in. wide. 
 
 % No. 372 and No. 373 are two copies of the painter’s own portrait 
 ^ from the original by Sir William Beechey, No. 356 in the Catalogue. 
 
 his . Both are on Canvas. The first is 2 ft. 6 in. high, and 2 ft. wide ; the second 
 is the same height, and f in. wider. 
 
22 
 
 BO UR GEOIS—BREENBER GH. 
 
 No. 374. WILLIAM TELL. On the left, three soldiers in 
 morions : one of them places the apple on the head of the hoy, who 
 stands facing towards the right, where his father kneels on one knee in 
 the middle distance. Tell looks angrily towards Gessler, who, mounted 
 on a prancing black horse, flourishes across the middle of the picture. • 
 A woman on her knees, with clasped hands, asks vainly for mercy to her 
 child. Behind Tell the ground sinks down to the margin of a lake, near 
 which a group of three standing men and four other smaller figures is 
 seen. The distant shore is mountainous, with a town to the right. A 
 boat is on the water. The sky is stormy, and unnaturally black with 
 clouds. 
 
 On Canvas. 2 ft. 6 in. high ; 3 ft. 7^ in. wide. 
 
 Sir P. F. Bourgeois’ Diploma as a Boyal Academician is in the 
 Gallery. George III., in his own handwriting, drew up the form of the 
 Diploma which is granted to each member on his election. The original 
 design by G. B. Cipriani, B.A., was exhibited in the second exhibition of 
 the Boyal Academy in 1770. It was engraved by F. Bartolozzi, B.A., 
 in the same year. 
 
 BREENBERGH.- Dutch School. 
 
 Born about 1600. Died after 1663. 
 
 ARTHOLOMEUS BREENBERGH was born at 
 Utrecht about the year 1600. He went very earl} 
 in life to Italy, where he painted landscapes anc j 
 historical subjects. Cornelis Poelenburg is said tc 
 have been his master. In Italy he studied also the grea 
 painters of historical compositions. He died after 1663. 
 
 Amongst the pictures of Breenbergh, the landscapes are fa ; 
 more important than the historical compositions. He succeedec | 
 best in small landscapes, which usually represent Romai 
 scenery : they are extremely finished in their design, and o 
 great delicacy in execution. They may generally be recog 
 nised by the cool blueish tone of their colouring. The back 
 grounds give an impression of great distance, and the figures i 
 the foreground are conceived in a spirited manner. His etching 
 (about thirty-one in number) are conspicuous by their grea 
 delicacy . 1 
 
 1 The British Museum possesses a number of drawings by this master, chief! 
 views of ruins in and about Rome. 
 
BREENBER GH—BR O U WER. 
 
 23 
 
 No. 15 . RUINS OF A ROMAN BUILDING. To the right, in 
 the foreground, large antique ruins; three cows and some sheep stray 
 about the down ; on the left, green-gray hilly distance. A fine-weather 
 sky and white clouds. Birds Hying about. 
 
 On Panel. 6f in. high ; 9£ in. wide. 
 
 Simple in its motive, somewhat monotonous in colour. 
 
 No. 16 . RUINS OF A TEMPLE OVERLOOKING AN 
 ITALIAN RIVER. On the left, upon a rock, a ruined circular temple ; 
 to the right, in the middle distance, a tower. In the foreground, a water- 
 fall, three men travelling, a woman sitting on the ground, a dog, an ass, 
 and cows. 
 
 On Panel. 6£ in. high ; 9 in. wide. 
 
 A fine specimen of the artist’s skill, and very attractive in the variety 
 of its scenery, which recalls the Upper Tiber valley near Rome. 
 
 No. 110 . A MOUNTAIN-VALLEY WITH RUINS. On the 
 right, steep rocks with bushes and a pine-tree ; on the left, a lake with 
 low water, and above it, the declivity of a mountain. In the distance, 
 swelling hills. To the right a road, which winds around the base of a 
 ruined castle ; two men driving flocks of sheep ; a man on a donkey. In 
 the immediate foreground, a drover with a herd of sheep, goats, cows, 
 a donkey, and a loaded pack-horse ; he is pointing the way to a man in 
 a helmet, with a purple drapery, walking with a lady in a blue dress, who 
 has a child with her ; blue sky with a few clouds. 
 
 On Panel, elliptical. 1 ft. 1^ in. high ; 1 ft. 5^ in. wide. 
 
 Carefully executed in cool harmony. 
 
 BROUWER.— Flemish School. 
 
 Born about 1605. Died 1638. 
 
 HE earliest and most authentic information we have 
 concerning this painter is the inscription on his 
 portrait, painted by Antonius van Dijck, and en- 
 graved by Schelte van Bolswert (1645) : ‘Adrianus 
 Brouwer gryllorum pictor Antwerpiae, natione Flander (Adrian 
 Brouwer, painter of comic scenes 1 at Antwerp, Flemish by 
 nationality).’ Most probably Brouwer was born at Oudenaerde 
 
 1 The word grylli, from the Greek ypvAKos, young pig, is employed in the 
 sense indicated by Pliny, Hirtor . Natnr. lib. xxxv. c. 10, § 370. 
 
24 
 
 BROUWER . 
 
 
 in Flanders about the year 1605. 1 He was a Roman Catholic. 
 The anecdotes, which describe his life as having been most 
 adventurous and extravagant, are drawn from unfounded re- 
 ports. When about twenty-two years of age Brouwer under- 
 took a voyage, and falling into the hands of pirates, he was 
 robbed, and only saved his life by escaping to the Dutch coast. 
 He remained in Holland some time, 2 where his pictures were 
 much esteemed. It is probable that at this time he studied 
 under Franz Hals. In Flanders he may also have been in- 
 fluenced by Peter Brueghel. In the year ending September 18, 
 1632, he was admitted into the Painters’ Guild at Antwerp, and 
 in the same year his portrait was painted by Van Dijck, to be 
 placed in his collection of the most celebrated portrait-painters. 
 In the Guild-Book (. Liggeren ), during the same year, Jan Baptist 
 d’Andois is registered as a pupil of Brouwer. Joos van Craes- 
 beeck was likewise his scholar. We further learn that Brouwer 
 was received, between 1634 and 1635, into the Rederykamer 
 der Violiere (a section of the Guild for exercising rhetoric), and 
 paid the entrance-fee of eighteen florins, and in later years the 
 annual contribution. He died at the end of January in 1638, at 
 Antwerp, when thirty-two years of age, and received an honour- 
 able interment at the convent church of the Carmelites. 3 In 
 his epitaph, published by De Bie, he is called ‘ a man of great 
 mind, who rejected every splendour of the world, and who 
 despised gain and riches. After his death, however, his art 
 gained high reputation.’ Fourteen to eighteen etchings are 
 ascribed to him : eight of them are considered genuine. Many 
 renowned painters have engraved his drawings and pictures. 4 
 
 The style of Brouwer is a mixture of Flemish and Dutch ex- 
 cellencies. He ranks first amongst all genre-painters on account 
 of his eminent skill in invention, composition, and colour. 
 
 1 As to the year of his birth see W. Schmidt, Kritische Beleuchtung, p. 16; 
 Isaac Bullart, Academic des Sciences et des Arts (Paris, 1682), vol. ii. p. 488 ; Cor- 
 nelis de Bie, Guldencabinet van de edele vry Schilder- Const (Antwerpen, 1662), p. 91. 
 See also Sandrart, Teutsche Academic, ch. cxlix. 
 
 2 According to I. Bullart, Acadeviie , Brouwer was in Holland only ‘ quelque 
 temps.' 1 From this stay he was called ‘A. Brouwer Harlemensis,’ in the inscrip- 
 tion of a drawing by V. V. Bergh, 1659. 
 
 3 The parish registers and the civil rolls of Antwerp give us the precise date 
 of Brouwer’s death. 
 
 4 Kramm, Be Levens en Werhen der Hollandsche Kunstschilders (Amsterdam, 
 1857), p. 171. — Alfred von Wurzbach, ‘Adr. Brouwer,’ in Dohme's Kunst und 
 Kiinstler. 
 
BROU WER—B UGIA RDINI. 
 
 25 
 
 His rendering of the lower classes of people is as true as it is 
 humorous. Brouwer’s pictures are very scarce. Most of them 
 are in the Pinacothek at Munich. With the exception of Dul- 
 wich College Gallery, they will be sought for in vain in the 
 public galleries of England and Holland. 
 
 No. 54 . INTERIOR OF AN ALE-HOUSE. In the foreground, 
 to the left, a group of four men : one, sitting on a tub, is refilling his pipe. 
 In front of him is a stool with a pitcher on it, a lighted candle set up, 
 and a cloth. On the floor is a pe wter pot. In the left corner a large 
 earthen pitcher; a young man in a red cap sits behind smoking ; two 
 others singing. In the corner, another figure. On the right a man has 
 pulled up against a wooden post ; he leans against the support, with his 
 right hand high against the beam ; a red pitcher hangs above ; on the 
 right a door, a child going out. In the background, a fireplace; two 
 men sit over it ; another stands with his back to the fire ; another guest 
 is hugging the landlady ; a portrait-drawing on the wall. 
 
 On Pan^l. 1 ft. f in. high ; 1 ft. 4 f in. wide. 
 
 The execution is very clear and brilliant ; a soft, transparent brown 
 tone prevails generally. Compositions by Brouwer with so many figures 
 are very seldom met with. 
 
 BUGIARDINL— Florentine School. 
 
 Born 1475. Died 1554. 
 
 IULIANO DI PIERO DI SIMONE BUGIAR- 
 DINI was born at Florence in 1475. He studied 
 the antique in the Giardini dei Medici, where he 
 became acquainted with Michelangelo. 1 With him 
 he entered the studio of Domenico Ghirlandajo. Afterwards 
 Michelangelo employed him at his fresco-paintings in the 
 Sistine Chapel (1508). 2 He also assisted Mariotto Albertinelli. 3 
 During the political disturbances in Florence, he probably lived 
 at Bologna, where numerous pictures painted by him are pre- 
 served. In the year 1526 he was again in Florence, where 
 Michelangelo became his patron. He died February 17, 
 1554, in Florence, and was interred in the Church Sta. Maria 
 Novella. 
 
 1 Yasari, Vite de ’ Pittori , x. 346-7. 2 Ibid. iii. 190. * Ibid. x. 348. 
 
2 6 
 
 BUGIARDINL 
 
 Bugiardini often worked after the sketches of other great 
 painters, as Fra Bartolommeo and Michelangelo. His own 
 original pictures, which are often attributed to other artists, are 
 mostly representations of Madonnas and Holy Families. 
 
 No. 354. HOLY FAMILY. The Virgin, seated on the ground, 
 suckles the Child, who sits on her lap. To the left, St. .John bearing a 
 cross. To the right, J oseph sleeping, with his head on his hand. A rock 
 and bushes in the background. Outline nimbi round the heads. 
 
 On Panel. 2 ft. in. high ; 2 ft. 2 in. wide. 
 
 Formerly ascribed to Sassoferrato, and even to Baphael. The pic- 
 ture is entirely over-painted. Bugiardini appears to be here under the 
 influence of Fra Bartolommeo. 
 
CAMBIASO.— -School of Genoa. 
 
 Born 1527. Died 1585. 
 
 UCA CAMBIASO was bom at Moneglia, on the 
 Riviera orientale di Genoa, October 18, 1527. His 
 father, Giovanni Cambiaso, was his master, and made 
 him study in Genoa after the numerous pictures of 
 Perino del Vaga and of Pordenone. He was much engaged in 
 Genoa with panel-pictures and frescoes, which he painted for 
 palaces and churches, and at which he worked with Giovanni 
 Battista Castelli from Bergamo. After the death of his wife he 
 went to Rome for some time ; and was afterwards again em- 
 ployed in Genoa, not only as painter, but also as sculptor. 
 He was called by Philip II. to Spain, where he remained until 
 his death, in 1585. 1 
 
 Luca Cambiaso painted in a cheerful, natural style, which 
 sufficed to express adequately even his highest ideals. His 
 colouring is generally harmonious and clear ; his chiaroscuro 
 always telling, light and shadow being divided in broad masses : 
 but at a later time, when his naivete failed, his colouring became 
 duller. His Madonnas are genuine, amiable Genoese women, 
 with nothing ideal in form ; the Child, as usual, naif and 
 beautiful in action. 
 
 No. 247. VENUS AND CUPID. Venus sitting on a couch* 
 turned to the right, seen in profile, half-length figure, undraped ; a golden 
 girdle round the hips ; in her arms, Cupid kissing her. Dark background. 
 
 On Canvas. 2 ft. in. high ; 2 ft. 1 in. wide. 
 
 This picture, a late work of the master, was formerly described as 
 the work of an unknown artist, and also ascribed to Giovanni Battista 
 du Paggi (1554-1627), of Genoa, a scholar of L. Cambiaso. — Lively in 
 conception, but not well preserved. An exact copy of this picture, 
 painted by W. Etty, R.A., is in Lord Northbrook’s Collection. 
 
 A replica in the Munro Collection was attributed to Paolo Veronese. 
 
 1 Lanzi, Storia , v. 250 f. Sene degli uominiijpiu illustriin Pittura, vol. vii. 39-51. 
 
28 
 
 CAMPHUIJSEN. 
 
 CAMPHUIJSEN.— Dutch School. 
 
 Born 1624. Died 1674. 
 
 OVAERT CAMPHUIJSEN was born at Gorcum in 
 the year 1624. On February 8, 1647, he married 
 Petronilla Franken 1 of Amsterdam, and was made 
 a citizen of Amsterdam on March 16, 1650, 2 where 
 he died in 1674. 3 
 
 Camphuijsen was probably influenced by Paulus Potter, with 
 whom his style has some points in common ; but he cannot be 
 considered to be a scholar of this master, who was one year 
 younger, and who came to Amsterdam only in the year 1652, 
 when Camphuijsen was already an accomplished artist. He 
 painted principally domestic animals, cattle, sheep — in meadows, 
 courtyard, or stable. The peculiar treatment of light, by which 
 his colour melts into golden hues, his broad execution, brown 
 shadows, and firmly-painted yellow lights, certainly all denote 
 a peculiar style and an original master, 4 whose merits have not 
 yet been enough appreciated. 
 
 No. 120. PEASANTS WITH COWS BEFORE A COTTAGE. 
 In the foreground, a cowkeeper, barefoot, with his boots hung around his 
 waist ; he stands in front, and points to some object with his left hand ; 
 he leans on a long stick with his right ; near him a peasant and three 
 cows. In the middle of the picture, the gable-end of a cowshed, partly 
 thatched and partly covered with boards ; to the left two willows ; on the 
 right cottages, and a waggon-load of corn drawn by two horses. Blue sky. 
 
 . On Panel. 1 ft. 6§ in. high ; 2 ft. § in. wide. 
 
 Both the scenery and the costumes of the figures are Westphalian. 
 
 1 T. van Westrheene, Paulus Potter , sa vie est ses oeuvres. E. Fetis, ‘ G. Camp- 
 huijsen, ’ in I? Art (1877), pp. 37-38, 63-69. 
 
 ' z This fact has been discovered by Scheltema in the Archives of Amsterdam. 
 
 3 The name of this painter is not mentioned in the great dictionaries of 
 artists, such as Bryan- Stanley, Immerzeel, and Chr. Kramm. Dirk Raphaelsz 
 Camphiiijsen, in Gorcum, who died in 1626 (see Immerzeel, p. 125, and Kramm, 
 p. 216), was probably the father of the painter Govaert Camphuijsen, to whose 
 name Chr. Kramm draws attention in the Aanhangsel, p. 32. W. Burger (Thore) 
 has the merit of having first proved the existence of this painter by the signatures 
 on his pictures, which are very rare. They are often attributed to Paulus Potter, 
 and also to Dirk Raphaelsz Camphuijsen, who was a literary man, and who, 
 according to E. Fetis, never worked as an artist. (See Musees de la Hollander 
 ii. pp. 239-244.) 
 
 4 A picture representing four cows in a stable, and a servant cleaning barrels, 
 signed and dated ‘G. Camphuijsen, 1645,’ is in the possession of L. C. Theodore 
 H. Galton, Esq., and now exhibited at the Bethnal Green Museum, No. 43. 
 
CA MP HU I JSEN — A G OS TINO CA RRA CCL 29 
 
 The signature, ‘ Paulus Potter/ on this picture, is certainly a forgery, 
 and doubtless the only reason for the attribution of this picture to Paulus 
 Potter, with whose genuine works it cannot be confounded ; but it agrees 
 in every point with the given characteristics of G-. Camphuijsen. 
 
 AGOSTINO CARRACCI.— Bolognese School. 
 
 Born 1558. Died 1661. 
 
 GOSTINO CARRACCI, son of Antonio Carracci, a 
 tailor, was born at Bologna, August 16, 1558. After 
 having been, at first, apprenticed to a jeweller, he 
 visited the studios of the painters Prospero Fontano 
 and Bartolommeo Passarotti, under the guidance of his cousin 
 Lodovico, and worked in competition with his brother Annibale. 
 He then gave himself up to a more general study of art and 
 science, especially of engraving, under the direction of Domenico 
 Tibaldi, architect and engraver at Bologna, and of Cornelius Cort 
 at Venice, where he also came under the influence of Tintoretto 
 and Paolo Veronese. He studied the works of Correggio at 
 Parma. From 1589 he painted at Bologna, and was a teacher 
 at the Academy founded by Lodovico. At Rome he worked 
 for a short time at the Palazzo Farnese, and then went to Parma 
 to enter the service of the Duke Ranuccio I. Farnese. He died 
 there March 11, 1661, in the Capuchin Convent, whither he had 
 retired before his death. 1 
 
 Agostino is better known by his engravings than by his 
 paintings; these are very rare. His masterpiece, ‘The Com- 
 munion of St. Jerome/ is in the Picture Gallery at Bologna. His 
 manifold talents are especially conspicuous in his activity as 
 a professor. 
 
 No. 290. DEATH OF ST. FRANCIS. The Saint is lying at 
 the steps of an altar, and is assisted by monks. Behind him is seen the 
 altar, before which a grey-bearded priest holds the paten and Host, ready 
 to administer Holy Communion to the Saint; behind the altar the 
 picture of a Madonna enthroned with the infant Christ. The whole 
 composition consists of ten figures. 
 
 On Canvas. 2 ft. If in. high ; 1 ft. in. wide. 
 
 1 Malvasia, Felsina Pittrice, ed. Zanotti (Bologna, 1841) ; Bellori, Vite de' 
 Pittori (Roma, 1672 ) ; Passeri, Vite de ’ Pittori (Rome, 1777) ; Serie degli uomini 
 ipin illustri in Pittura , vol. viii. p. 79. 
 
30 AG0STIN0 AND ANNIBALE CARRACCI. 
 
 Yery careful in execution ; the heads very expressive. A genuine 
 and remarkable work of this rare master. Formerly ascribed to Annibale 
 Carracci; in Mr. Cockburn’s Catalogue (about 1818) it was labelled 
 *A. Carracci/ 
 
 ANNIBALE CARRACCI.— Bolognese School. 
 
 Born 1560 . Died 1609 . 
 
 NNIBALE CARRACCI, brother of Agostino Car- 
 racci, was born at Bologna November 3, 1560. 
 Although destined at first for the trade of his 
 father, he chose to become a painter under the 
 guidance of his cousin, Lodovico Carracci, who was his only 
 teacher. He studied the works of Correggio at Parma, and was 
 at Venice acquainted with Tintoretto and Paolo Veronese. 
 After having worked in Bologna for about twenty years, he was 
 called to Rome in 1600 by the Cardinal Odoardo Farnese, 
 where he decorated the Palazzo Farnese with frescoes, working at 
 them for eight years. Deeply mortified by the small payment he 
 received for his labour 800 scudi ( = crowns), he went to Naples 
 for recreation, but died shortly afterwards in Rome, July 16, 
 1609, where he was interred near Raphael in the Pantheon. 1 
 
 The paintings of Annibale Carracci in the Palazzo Farnese 
 are not only his principal works, but also the most important 
 productions of the Bolognese School. They combined masterly 
 freedom of design with an harmonious effect of colouring. The 
 influence of Titian and P. Veronese, of Correggio and Par- 
 migiano, alternately appear to have prevailed in Annibale 
 Carracci’s works. 
 
 No. 344. THE ENTOMBMENT OF CHRIST. In the fore- 
 ground, three men carrying the body of Christ into a cave ; to the left, a 
 young man with a candle ; to the right, a woman sitting on the ground 
 lamenting. In the distance, two women helping the fainting Madonna. 
 Rocks and dark sky in the background. 
 
 On Canvas. 1 ft. 6 ^ in. high ; 1 ft. 2f in. wide. 
 
 A carefully studied composition ; the colours deep in tone ; the figure 
 of Christ recalls Michelangelo’s Pieta in St. Peter’s at Rome. Formerly 
 ascribed to Lodovico Carracci. 
 
 1 Malvasia , Felsina Pittrice, ed. Zanotti (Bologna, 1841); Passeri, Vite dd 
 Pittori (Rome, 1777) ; Serie degli uomini i gnu illustri in Pittura , vol. viii. p. 97. 
 
ANNIBALE AND LODOVICO CARRACCI . 
 
 3i 
 
 No. 335. THE VIRGIN, INFANT CHRIST, AND ST. JOHN. 
 The Virgin seated on the ground, violet dress and blue mantle. The 
 infant Christ stands on the ground and clasps his mother around the neck. 
 He wears a short yellow tunic. To the left St. John, looking towards 
 the Madonna. A dark-foliaged background. 
 
 On Panel. 10 in. high ; 7f in. wide. 
 
 No. 274. (After An. Carracci.) MAGDALENE IN CONTEM- 
 PLATION. Magdalene, in a blue mantle, sits on the ground, bare to the 
 waist. In her lap, a skull and a book ; her right arm supports the 
 uplifted head ; to the left and in the centre, rocks. In the distance 
 hilly landscape. Evening sky. 
 
 On Canvas. Ilf in. high ; 1 ft. 3f in. wide. 
 
 The original has been engraved by Famii. 
 
 LODOVICO CARRACCI.— School oi Bologna. 
 
 Born 1555. Died 1619. 
 
 ODOVICO CARRACCI was born at Bologna, April 
 21, 1555. The name of his father, a butcher, was 
 Vincenzo Carracci. His first master, Prospero Fon- 
 tano, in Bologna, and also his second, Tintoretto, in 
 Venice, advised him to give up painting. But he was indefatig- 
 able, and studied the works of Bagnacavallo and Tibaldi in 
 Bologna. Under the guidance of Domenico Passignano in 
 Florence, he afterwards studied the works of Andrea del Sarto, 
 and went to Parma to study those of Correggio, and to Mantua 
 for the study of Parmigiano and Giulio Romano. When he 
 returned to Bologna, in 1589, he founded a new school of 
 painting, from which afterwards issued the greatest Italian 
 artists of the seventeenth century. He died, unmarried, Decem- 
 ber 13, 1619, at Bologna. 1 
 
 His pictures are very numerous. He has the merit of being a 
 reformer in painting in Italy, which at that epoch had degene- 
 rated into mannerism. To unite the excellencies of all the great 
 masters in one new style was his aim. Whilst the Italian masters 
 of the Renaissance united their own ideal imaginations with 
 
 1 Malvasia, Felsina Pittrice , ed. Zanotti (Bologna, 1841) ; Passeri, Vite de > 
 Pittori (Rome, 1777) ; Serie degli uomini i piu illustri in Pittv/ra, vol. viii. p. 41. 
 
32 
 
 LODOVICO CARRACCI. 
 
 nature, it was ‘ the model ’ which gained supremacy in the school 
 of the Carracci, who drew from it even their conception of the 
 ideal and of nature. 
 
 No. 265 . ST. PETER AND ST. FRANCIS. Two whole-length 
 figures standing opposite each other ; St. Peter to the left, in a dark dress 
 and wide blue mantle ; St. Francis to the right, looking with devotion 
 at the crucifix in his arms. Hills, and trees in the distance, and blue sky. 
 
 On Copper. 9 in. high; 7 in. wide. 
 
 Of glowing colour and good impasto ; deep in tones, and of smooth 
 forms. Painted under the influence of Schedone and Correggio. 
 
 No. 293 . A FRANCISCAN MONK IN PRAYER. The monk 
 kneels in a cave turned to the left, his hands crossed, the face lifted 
 upwards. Over him three angel boys in clouds ; before him on a rocky 
 bench a skull, a chaplet, and a book. In the background a view over 
 a plain, with steep mountains in the distance. Evening sky. 
 
 J 
 
 . 
 
 ' 
 
 1 ! 
 
 On Copper. 1 ft. in. high ; 10 in. wide. 
 
 Careful in execution, clear in colouring. 
 
 No. 311 . ( School of Lodovico Carracci .) A PIETA. In the fore- 
 ground, the Madonna, seated. The body of the dead Christ lies on a white 
 cloth, whilst his head rests on the lap of the Madonna, who stretches out 
 her left hand, lamenting. To the right two angel boys, kneeling, one 
 holding the nails, the other taking up Christ’s hand. Behind them, the 
 grave. To the left, a view of Golgotha. 
 
 On Canvas. 1 ft. 2 \ in. high ; 1 ft. 6f in. wide. 
 
 In Lord Northbrook’s Collection is a similar picture painted by 
 Lodovico Carracci, with slight variations, one angel boy being occupied 
 with the crown of thorns instead of the nails. Another representation 
 of the same subject, much larger in size, and ascribed to Annibale 
 Carracci, is in the Gallery Doria at Rome (III. Braccio, No. 18). Here 
 the two angel boys are missing. This composition was certainly a 
 favourite one of Lodovico Carracci and his school. The picture be- 
 trays the hand of a scholar in its execution. It was formerly attributed 
 to Annibale Carracci. In Mr. Cockburn’s Catalogue it was labelled 
 c Unknown.’ 
 
CASANOVA . 
 
 33 
 
 CASANOVA. — Eclectic School. 
 
 Born 1730. Died 1805. 
 
 RANCESCO CASANOVA was born in London in 
 1730, and is said to have been an illegitimate son 
 of King George II. His family was of Venetian 
 origin. When not yet six years of age, he went to 
 Venice, where he was educated, and where he visited the studio of 
 Francesco Guardi (who was a scholar of Canaletto, and died in 
 1 793 ) and that of Simonini, painter of landscapes and battles. 
 After travelling in France and Germany, he lived at Dresden for 
 j four years, where he copied pictures by Wouwerman. During this 
 time he was influenced by Dieterich, the cleverest of all pasticcio 
 painters. Later on he went to Paris, where his battle-pieces 
 were much admired. In the year 1763 he was elected member 
 of the French Academy. When he entered the service of 
 Catherine II., Empress of Russia, he settled at Vienna, where he 
 died in March 1805. 1 
 
 Besides battle-pieces, Casanova also painted landscapes, 
 animals, and family scenes, in imitation of Dutch masters. 
 
 No. 28. WANDERERS NEAR A RIVER. To the right an 
 old town wall ; behind it a tower ; in front two riders, and loaded horses. 
 A man pushes off from the shore a boat, which is loaded with goods 
 and passengers : three persons are close to him on the shore. To the 
 left, on the distant hank, a castle, a bridge, and a tower. Blue sky with 
 light clouds. 
 
 On Canvas. 1 ft. 2\ in. high. ; 2 ft. 2 in. wide. 
 
 The influence of Philip Wouwerman is here clearly discernible. 
 
 1 See Fred. Villot, Notice des Tableaux du Louvre : Ecole Franqaise (Paris, 
 1878), p. 55. 
 
 D 
 

 CHA RDIN—CIGNANI. 
 
 CHARDIN.— French School. 
 
 Born 1699. Died 1779. 
 
 EAN-BAPTISTE-SIMEON CHARDIN was borr 
 in Paris, November 2, 1699. He received instructor | 
 only in copying pictures, but soon attracted genera 
 notice through his great ability in the imitation o^ 
 nature, especially in still-life pictures, which for their accuracy wen 
 even mistaken for old Flemish pictures. He was made member 
 of the Royal Academy of France in 1728, and from 1752 h< 
 received a yearly pension of 800 livres from the King. H< ! 
 died on December 6, 1779. 1 
 
 Until the year 1737 he only painted still-life pictures, and i 
 is to those that he owes his celebrity. He had quite a differen 
 style in his figure representations ; the latter are remarkable fo 
 their natural truth and action. 
 
 No. 27. GIRLS AT WORK. Six girls sitting in a room, on 
 standing, nearly all occupied with needle-work. To the right, a mantl 1 
 and a fan on a chair. Dark background. 
 
 On Canvas. 1 ft. 10 j- in. high ; 2 ft. 4f in. wide. 
 
 CIGNANL— School of Bologna. 
 
 Born 1628. Died 1719. 
 
 RLO CIGNANI, son of Pomponio Cignani, wa 
 born at Bologna May 15, 1628. He was of nobl 
 family, and studied painting under Giovanni Battist 
 Cairo, afterwards under Francesco Albani, and de 
 veloped his power by studying the works of Correggio and th 
 Carracci. He lived as an independent artist, first in Bologn; 
 then for a short time in Leghorn, for three years in Rome, the 
 again in Bologna, whence he was called to Parma by th 
 
 1 F. Villot, Notice des Tableaux du Musee dn Louvre : Ecolc Franqaisc (Parii 
 1878), pp. 58, 59. 
 
CIGNANI— CLAUDE LE LORRAIN. 
 
 35 
 
 Duke, Ranuccio Farnese, and knighted. Afterwards Cignani 
 painted in Bologna numerous pictures for Italian and foreign 
 potentates, eg. Louis XIV., and was also patronised by Pope 
 Clement XI., after whom the newly-founded Academy, of which 
 Cignani was the head, was called ‘ Clementine.’ In the year 
 1686 he began the fresco representing the Assumption of the 
 Virgin, in the cupola of the Duomo (S. Croce) at Forli, near 
 Ravenna, which was finished in the year 1706. He died at Forli, 
 September 6, 1719. 
 
 Carlo Cignani may be considered the last classical painter 
 of the Bolognese School. His compositions are elegant, his 
 colouring attractive, the design accurate ; his pictures are mostly 
 of a cool tone. Amongst his numerous scholars the principal are 
 Ferdinando Bibiena, Ventura Lamberti, Carlo Ricci, Giuseppe 
 Maria Crespi, Marc Antonio Franceschini. 
 
 No. 350. MARY MAGDALENE. Half-length figure, life-size, 
 seen in profile to the left; brown hair hanging loosely down her 
 shoulders. White drapery and reddish mantle. Both arms bare. The 
 hands clasp a skull placed on a book, from which the Saint reads. Dark 
 background. 
 
 On Canvas. Circular, 3 ft. 2 in. diameter. 
 
 CLAUDE LE LORRAIN.— French School. 
 
 Born 1600. Died 1681. 
 
 LAUDE GELLEE (or Gillee), called Le Lorrain, 
 was born at Chamagne, a castle on the banks of the 
 Moselle (near Toul), in 1600. When twelve years 
 of age, he lost his father, Jean Gellee, and also his 
 mother. While staying with his elder brother, a clever wood- 
 engraver, at Freiburg in Breisgau, he learned to draw ornaments 
 and arabesques. Afterwards he went to Rome with one of 
 his relations, where he studied industriously. Godfried Walls, 
 a painter from Cologne residing at Naples, was his master for 
 two years, in architectural perspective and landscape-painting. 
 Claude afterwards returned to Rome and resided there till 1625, 
 visiting the studio of Agostino Tassi, a scholar of Paulus Brih 
 
 d 2 
 
CLAUDE LE LORRAIN. 
 
 36 
 
 He then wandered to Loreto, Venice, and through Germany to 
 Nancy, where he occupied himself for a year with architectural 
 painting, but returned, in the year 1627, by way of Lyons to > 
 Rome, where Cardinal Bentivoglio and Pope Urban VIII. became 
 his protectors. 1 He died at Rome November 21, 1681, and was , 
 buried in the Church of the Trinita de’ Monti. 2 
 
 Claude’s pictures were much appreciated even during his j 
 lifetime, and many pupils visited his studio. Giovanni Domenico j 
 Romano was his best scholar, and sold his own pictures for real 
 Claudes — a circumstance which determined Claude not to accept 
 any more pupils in his later time. Claude always painted with 
 the greatest zeal ; in the year 1644, for instance, he completed I 
 and finished seventeen pictures. He also made a large collec- 
 tion of drawings, after his original paintings, and wished it to 
 be preserved by his heirs. 3 His landscapes are not directly 
 painted from nature, but they are composed from an ideal 
 point of view, in order to represent classical scenery. His 
 architecture is generally taken from ancient Roman buildings. 
 His greatest merits lie in his unsurpassed pictorial treatment 
 of aerial perspective, in the great depth of his broad back- 
 grounds, and in the delicate tones of his colour, which reflect 
 with various effects the sunlight that fills the space before him 
 Claude le Lorrain first succeeded in giving expression to our 
 feeling of longing after distant shores, and to the poetry whicl 
 this feeling inspires. 
 
 No. 244. JACOB AND LABAN WITH HIS DAUGHTERS 
 IN A LANDSCAPE. In the centre of the foreground a group of higl 
 trees; Jacobin conversation with Laban, who stands between Rachel an* 
 Leah ; to the left, sheep and goats ; a bridge, with a caravan, and ; 
 fortified place. To the right a view over a flat landscape, with river 
 and hills, and the sea. 
 
 On Canvas. 2 ft. 4 in. high ; 3 ft. £ in. wide. 
 
 1 Baldinucci, Notizie dei Professori del Disegno , Sec. His biography rests on th 
 reports of Joseph Gellee, nephew of the artist. Sandrart, Deutsche Academic , cclv 
 relates that Claude came to Rome as a pastrycook, and was first a servant of th 
 painter Tassi. 
 
 2 The remains of the artist were transported to the French National Churc 
 (S. Luigi) at Rome in 1840, on the recommendation of M. Thiers. 
 
 3 Libro diVerita 0 d'Invenzioni , now in possession of the Duke of Devonshirt 
 This sketch-book contains 200 drawings in pen washed with bistre. It has bee 
 engraved by Barlom and published by Boydell (London) 1774. A great numbs 
 of drawings by Claude exists besides these. 
 
CLAUDE LE LORRAIN. 
 
 37 
 
 No. 188 in Smith’s Catalogue, who states that it was painted for 
 Sig. Francesco Mayer in 1676. Remarkable for the warm and trans- 
 parent atmosphere. 
 
 Engraved by It. Cockburn. 
 
 No. 275 . A CLASSICAL SEAPORT AT SUNSET. A slightly 
 agitated sea ; on the right, a rocky bank with high trees, a tower and a 
 temple. In the middle distance, a seaport and a mountain. To the 
 left, in the foreground, a large ship and two boats ; two men standing on 
 the shore. 
 
 Masterly in its broad execution. 
 
 On Canvas. 2 ft. \\ in. high ; 3 ft. 2 in. wide. 
 
 Engraved by R. Cockburn. 
 
 No. 270 . THE EMBARKATION OF ST. PAULA FROM 
 THE PORT OF OSTIA. In the foreground, magnificent palaces sur- 
 rounded by canals, with a view of the sea ; ships and boats ashore. St. 
 Paula, and her daughter Eustochium, taking leave of friends and em- 
 barking in a boat ; evening sun in the distance. Inscribed on two stones : 
 
 PORTO DE | 
 
 INBARCO 
 
 OSTIA CL | 
 
 DISANTA 
 
 AYDIO IMP, 
 
 PAYLA 
 
 On Canvas. 1 ft. 7f in. high ; 1 ft. 3| in. wide. 
 
 ‘ Porto de Ostia, Claudio Imp(eratore).’ ‘ Inbarco di Santa Paula 7 
 (‘ Harbour of Ostia, under the Emperor Claudius.’ ‘ Embarkation of St. 
 Paula’). Under the Roman Emperor Claudius, a.d. 41-54, a new 
 harbour, called Portus Augusti, was constructed at Ostia, near Rome. 1 
 
 St. Paula, a Roman lady, was born in 347. At the inducement of her 
 friend St. Jerome, she left Rome to live in close retirement at Bethlehem, 
 where she died in 404. 
 
 See ‘Liber Veritatis,’ No. 49; and Smith’s Catalogue, same number. 
 Sold to M. Desenfans in 1802 for 200 guineas. 
 
 A similar picture is in the possession of the Duke of Wellington. 
 
 Desenfans’ Catalogue, No. 60, where it is stated that it was formerly 
 the property of Prince Rupert. 
 
 Engraved by R. Cockburn. 
 
 No. 211 . A RIPOSO IN AN EXTENSIVE LANDSCAPE. 
 In the foreground the side of a hill covered with trees, at the foot of 
 which the Madonna is seated ; the infant Christ on her lap, to whom an 
 angel offers flowers ; St. Joseph standing near. A bridge in the middle 
 distance, flat landscape and the sea, with mountains beyond in the 
 distance. Blue sky, with a few clouds. 
 
 On Canvas. 1 ft. 3 in. high ; 1 ft. 7^ in. wide. 
 
 Very delicate in tone. 
 
 1 See J. P. Kichter, ‘ Ostia,’ in von Liitzow's Zeitschrift fiir Bild. Kumt , vol. xiv. 
 pp. 84, 89. 
 
38 
 
 SCHOOL OF COLOGNE— CORREGGIO. 
 
 No. 264. {School of Claude.) LANDSCAPE WITH FIGURES. 
 In the foreground, a column and an urn; formerly ruins of a classical 
 monument. To the left, a village, and beyond it high rocks. To the 
 right, a bridge and a distant view. Three figures, cattle, and geese in the 
 foreground. Calm sky. 
 
 On Canvas. 3 ft. 5 in. high ; 4 ft. 6 in. wide. 
 
 SCHOOL OF COLOGNE, about 1500. 
 
 No. 277. BUST OF CHRIST AS SAVIOUR OF THE 
 WORLD. Seen in front. Blessing with the right hand, the left carry- 
 ing a globe, the symbol of the world ; greenish coat, red mantle, lined 
 with green, and fastened by a gold brooch. Dark background. 
 
 On Panel. 10| in. high ; in. wide. 
 
 Formerly attributed to Leonardo da Yinci and to his school. But it 
 is clear, from the design and colouring, as well as from the general con- 
 ception of the picture, that it is the work of a Northern artist. The 
 features of Christ, the tone of the colours, and the singular glassy look 
 of the eyes, are quite in the style of the School of Cologne under the 
 influence of Master Stephan Loethener (1451). 
 
 CORREGGIO. — School of Lombardy. 
 
 Born 1494. Died 1534. 
 
 ORREGGIO is the name of a small town near Man- 
 tua. It had, during the fifteenth and sixteenth 
 centuries, its own sovereign ; and several painters, for 
 instance, Lorenzo Costa, of Ferrara, sojourned there. 
 Antonio Allegri, afterwards called Correggio, was born at Cor- 
 reggio, about the year 1494, and was the son of a well-to-do 
 citizen. From 1518 to 1530 he lived chiefly at Parma. In 1519 
 he married Girolama Francesca di Braghetis, from Correggio, 
 who died about the year 1529. The artist returned to his native 
 town in 1530, where he died on March 5, 1534. 1 
 
 The early works of Correggio are painted in the style of the 
 Ferrarese School. The pictures of his second period are con- 
 spicuous by their masterly treatment of light and shadow. The 
 
 1 J. Meyer, Correggio. Leipzig, 1871. J. P. Richter, ‘Correggio,’ in Dohme’s 
 Kunst mid Kiinstler. Leipzig, 1 879. 
 
CORREGGIO— P. DA CORTONA. 
 
 39 
 
 altar-piece called ‘ La Notte,’ now in the Dresden Gallery, is 
 regarded as a masterpiece in this respect. The artist, in his 
 pictures, conceived men as when in the enjoyment of sublime 
 bliss and in the extremity of great joyfulness, giving them in 
 their outward appearance a natural grace which is unparalleled. 
 Correggio had no pupils ; although the contemporary painters 
 of Parma, Mazzuoli surnamed Parmigiano, Anselmi, and Ron- 
 dani, were greatly influenced by him. In the seventeenth and 
 jeighteenth centuries the principles of Correggio’s art generally 
 prevailed in painting and sculpture, especially in Italy and France. 
 
 No. 255. (After Correggio.) VIRGIN AND CHILD. The 
 Virgin, in a red dress, holds the Child upon her lap, who looks and 
 reaches towards the left, whilst his mother is putting on him a violet 
 Iress. On the left, a basket with a pair of scissors. Dark background. 
 
 On Panel. 1 ft. \ in. high ; 9f in. wide. 
 
 An old copy of the Madonna della Cesta (basket), painted in Cor- 
 reggio’s later period. The original is in the National Gallery (No. 23). 
 The copy shows some deviations ; e. g. it has no landscape in the back- 
 ground. This picture is not in a good state of preservation. 
 
 No. 281. (After Correggio.) VENUS AND CUPID. Venus 
 tands in front, and holds an arrow in her left hand : her right hand is 
 m a red drapery. Cupid on the right, standing and turned to the left, 
 •eads from a paper ; two doves at their feet. Trees in the background. 
 
 On Panel. 1 ft. 7 \ in. high ; 10| in. wide. 
 
 An old copy, reduced, of part of the picture, 4 Mercury instructing 
 3upid in the presence of Venus,’ painted in Correggio’s later period for 
 he Duke of Mantua, now in the National Gallery (No. 10). In this 
 opy Mercury is wanting, and the figure of Cupid is reversed. The two 
 loves have been added by the copyist. Probably painted in the School 
 sf Carracci. 
 
 P. DA CORTONA.— Roman School. 
 
 Born 1598 . Died 1669 . 
 
 IETRO BERRETTINI, known under the name of 
 Pietro da Cortona, was born November 1, 1596, 
 at Cortona, in Tuscany. His father, Giovanni 
 Berrettini, was a tailor. He received his primary 
 istruction from his uncle Filippo Berrettini, and from Andrea 
 iomodi, a Florentine painter, who then lived at Cortona. It 
 /as with him that Pietro went to Florence, and when not yet 
 
40 
 
 P. DA CORTONA. 
 
 fifteen years old, to Rome, where he entered the studio of Baccio 
 Ciarpi of Florence, in order to study the antique and the works j 
 of Raphael, Michelangelo, and Polidoro da Caravaggio. Cardinal 
 Sacchetti became his protector, and introduced him to Pope 
 Urban VIII. (Barberini). He worked for twelve years at the 
 frescoes of the Palazzo Barberini, which are considered to be 
 his chef s-d' oeuvre. He visited Lombardy, the Venetian States, 
 and painted at the Palazzo Pitti in Florence, and was afterwards 
 exclusively employed in Rome, where he was knighted by Pope 
 Alexander (1655-67). He was also celebrated as an archi- 
 tectural designer, especially of facades. He died on May 4, 
 1669, and was interred in SS. Martina e Luca in the Forum at 
 Rome, a church built by him, and to which he had bequeathed 
 the sum of about 20,000 /. 
 
 Pietro da Cortona was chiefly a fresco-painter. His pictures 
 are executed with great facility. He is as great in painting as 
 any one can be without a serious conception of his subject. His 
 colouring is in a high degree pleasing: the prevailing qualities ; 
 are clearness of tone, sunny air, easy movement of the figures 
 in an illuminated space, a superficial, agreeable chiaroscuro, 
 especially in the flesh-tints. His types of women are far more 
 successful than his types of men. His principal pupils were 
 P. Dandini, Carlo Cesi, V. Borghesi, Romanelli. 
 
 No. 318 . ST. MARTINA TRIUMPHING OVER THE IDOLS 
 The Saint, seen in full face, kneels on the steps outside a temple ; her face 
 is uplifted to heaven, her hands crossed ; an outline nimbus surrounds 
 her head ; golden-coloured dress, white skirt and sleeves, blue cloak. Or 
 the left, a tripod, with fire on it, lies on the ground ; behind, a mar 
 falling down. To the right, the Emperor Alexander Severus, with wile 
 looks, his head covered with a mantle; over it, a laurel wreath. Four 
 other persons around him. In the distance, to the right, a temple unde: 
 a tree, and an obelisk, with blue sky above. Five angelic heads 02 
 clouds looking down on the Saint. 
 
 On Canvas. 3 ft. 9 in. high ; 2 ft. 9f in. wide. 
 
 The Emperor Alexander Severus, according to the legend, wished t 
 force Martina, a Christian virgin, of high birth, to saci'ifice to the gods 
 but when she entered the temple of Apollo, and had made the sign of th 
 cross, the statue of the god was overthrown, as also a part of the edifice 
 the ruins of which crushed the priests and the people. 
 
 . Pietro da Cortona repeated this picture several times : examples c 
 it are to be met with at the Louvre (No. 65), in the Gallery of Florence 
 and at the SciaiTa. Palace at Rome. 
 
P. DI COSIMO. 
 
 41 
 
 P. DI COSIMO.— Florentine School. 
 
 Born 1462. Died 1521. 
 
 IERO DI COSIMO was born at Florence in 1462. 
 After his father, who was a jeweller, he was called 
 Pietro di Lorenzo, but after his master, Cosimo 
 Roselli, Piero di Cosimo. Until 1485 he worked as 
 a pupil of Roselli, in the Sistine Chapel at Rome, afterwards at 
 Florence. Fra Bartolommeo and Mariotto Albertinelli were his 
 companions. That he was highly respected as a painter, is 
 shown by the fact that he was invited, in the year 1503, to 
 take part 1 in the consultation about the erection of Michel- 
 angelo’s * David.’ He is said to have been very singular in 
 his private life. In 1521 he died at Florence. 
 
 The paintings of Piero di Cosimo have only lately been 
 duly appreciated. They are still frequently ascribed to other 
 artists. He painted religious subjects and portraits, and es- 
 pecially antique legends. Andrea del Sarto was his pupil. 2 
 
 No. 133. BUST OF A YOUNG MAN. The head turned some- 
 what to the left, hands not visible ; brown long hair ; reddish brown 
 dress, with greyish blue sleeves. A tower to the left in the distance. 
 Blue sky. 
 
 On Panel. 1 ft. 7^ in. high ; 1 ft. 4 in. wide. 
 
 Very decisive in its design. The hair painted with greatest care, but 
 the colours not well preserved. A very characteristic work of this 
 master. Formerly ascribed to Leonardo da Vinci, and also to 
 Boltraffio. 3 
 
 1 He has himself painted this statue in the background of the portrait of a 
 Warrior, now in the National Gallery (No. 895), where this genuine work of Piero 
 di Cosimo is erroneously attributed to Lorenzo Costa of Ferrara. 
 
 2 Vasari, Vite de' PittoH, Sec. vol. vi. Crowe and Cavalcaselle’s Histoi'y of 
 Painting in Italy , vol. iii. 
 
 3 See Waagen, Treasw'es of Art, vol. ii. p. 346 : ‘ It appears to be an excellent 
 picture of Boltraffio.’ 
 
42 
 
 cuijp. 
 
 CUIJP.— Dutch School. 
 
 Born 1605. Died 1691. 
 
 ELBERT CUIJP was born at Dort, in August 1605. 
 His father, Jacob Gerritsz Cuijp, was a celebrated 
 portrait-painter ; his mother, Grietje Dirckz-dochter 
 (Margaret, daughter of Dirk). Aelbert was his 
 father’s pupil. On July 30, 1658, he married Cornelia Bosnian, 
 widow of Jan van den Cornput. He lived mostly on his estate, 
 Dordwijk, near Dort. As proprietor of it, he had a seat in the 
 High Court of Justice for the province of Dort. The distinguished 
 position he occupied is also shown by a list presented to the 
 Stadholder William III., where he is proposed as a member of 
 the Regency of Dort. He died in November 1691, and was 
 buried, on the 7th of that month, in the Church of St. Augustine 
 at Dort. 1 
 
 Aelbert Cuijp is, with Rembrandt, the most universal painter 
 of the Dutch School. He painted, in his youth, still-life, birds, 
 the interiors of stables, and portraits ; later on, river landscapes 
 with cattle, horses with riders, sea-pieces, scenes by moonlight, 
 &c. They all give a complete image of Dutch country life. The 
 earlier period of Dutch landscape-painting (van Goijen, R. Bogh- 
 man, Pieter Molijn, and others) attains with him its highest per- 
 fection. No painter so well succeeded in representing the effects 
 of full sunlight in the open air. His representations of birds 2 
 recall Hondekoeter, whilst his portraits come near to those of 
 Ferd. Bol. The animals in his pictures are as skilfully painted 
 as those of Adriaen van de Velde ; his horses are more imposing 
 than those of Wouwerman or Berchem ; his sky better than that 
 of J. Both. A. Cuijp, with a light hand, painted with transparent 
 colours, and his compositions, although simple, are still lively, 
 and by no means wanting in variety. Cuijp certainly ranks 
 
 1 Aelbert Cuijp and his father are not mentioned in the Guild- Book of Het 
 Sint Lucas- Gild tc Dordrecht (1580-1649). See F. D. O. Obreen, Archie f voor 
 Nederlandsclie Kunstgeschiedenis, vol. i. pp. 181-220. According to P. van den 
 Brandeler, the painters of Dort formed a ‘ simpele confrerie ’ apart from the Sint 
 Lucas-Gild. 
 
 2 Such pictures of A. Cuijp are to be found in the Gallery at Buckingham 
 Palace. 
 
CUIJP . 
 
 43 
 
 among the greatest masters for having created a new conven- 
 tional form for the representation of light and air. He preferred 
 to paint the bright, but hazy, light of a hot summer noon-day, 
 with strong glowing colours in the foreground, and most delicate 
 tints in the distance. He did not succeed so well in representing 
 middle distance in flat landscapes and mountains in the distance. 
 He signed his pictures A. C. and A. Cuijp. It is very seldom 
 that they are dated. Cuijp painted, perhaps, only for his own 
 pleasure. 
 
 Until the year 1750 none of his pictures were sold in 
 Holland for more than 30 florins, whilst now some are pur- 
 chased for 3,000/., and more. England has the merit of having 
 first appreciated this master, whose works are very rare on the 
 Continent. No Gallery in Europe possesses so many of his im- 
 portant works as the Dulwich College Gallery. 
 
 The pictures Nos. 114, 141, 163, 169, 239, are the most 
 prominent for their merits. The first mentioned in the follow- 
 ing descriptions belong to his earliest style. 
 
 AZ 
 
 No. 192. LANDSCAPE WITH CATTLE AND FIGURES. 
 A low sandy place, with patches of marshy grass about ; to the left, a 
 mound, on which two goats browse ; three shepherds and sheep in the 
 middle ground ; on the right, three cows. A flat marshy distance, and 
 grey sky. 
 
 Signed 
 
 A cvyp 
 
 On Panel. 1 ft. 2| in. high ; 1 ft. 10^- in. wide. 
 
 The impression of a desert plain is here well given. A particularly 
 important work of the master, as it is painted in his earliest style, of 
 which only a few examples have come down to us. It somewhat recalls 
 the manner of van Goijen. 
 
 Co 
 
 No. 76. LANDSCAPE WITH CATTLE. In the foreground, 
 a river, two men and three cows ; two boats lie close to the shore ; a 
 bank with bushes in the distance ; on the river, a sailing-boat ; cloudy sky. 
 
 Signed 
 
 A f^yp 
 
 On Panel. 10| in. high ; 1 ft. 2 in. wide. 
 
 An early work, recalling the style of van Goijen ; successful in the 
 colouring of the sky. 
 
 Engraved by It. Cockburn. 
 
44 
 
 cuijp. 
 
 No. 9. VIEW ON A PLAIN. In the foreground, two figures. 
 To the right, a shepherd standing and a woman sitting. In the distance 
 are five cows, three lying down, two standing; a small wood behind. 
 In the foreground, also four sheep; and in the middle, three more. 
 Near a road, on the left, a stream visible ; a village, and windmills, in 
 a long-stretching flat country. Clear, bright summer’s sky, with fleecy 
 clouds ; the day tending towards evening. 
 
 Signed 
 
 On Panel. 1 ft. 6f in. high ; 2 ft. 3f in. wide. 
 
 In this early work, Cuijp, with light touches of the brush, has well 
 succeeded in representing an extensive plain, with but small means. 
 Formerly called a view of Utrecht. 
 
 Engraved by R. Cockburn and by J. Cousen. 
 
 No. 114. THE WHITE HORSE IN A RIDING-STABLE. 
 In the foreground, a white horse ; behind him, his rider ; to the right, 
 a mounted horseman, who is leading his animal towards the front ; near 
 the wall in the background a man, a boy, and a girl. 
 
 Signed 
 
 A C 
 
 On Panel. 1 ft. If in. high ; 1 ft. 8 in. wide. 
 
 One of the finest pictures of A. Cuijp. The white horse is, with 
 regard to light, colour, and relief, an unequalled masterpiece of its kind. 
 W. Burger says, in reference to a very similar picture in the Museum of 
 Rotterdam (No. 42), * It was these horses of Aelbert Cuijp which pre- 
 vented Gericault — the celebrated French painter — from sleeping.’ 1 
 Engraved by R. Cockburn. 
 
 No. 156. TWO HORSES. A brown horse stands saddled, placed 
 with his flank to the spectator. To the right, a gray horse, facing the 
 spectator ; a groom, in red cap and dark clothes, is busy tightening the 
 girths. The background on the right is formed by a wall ; on the left, 
 are bushes and open country, with the tower of a castle beyond. Blue- 
 grey sky. 
 
 On Panel. Ilf in. high ; 1 ft. 3f in. wide. 
 
 Apparently an early work ; the landscape is here treated as quite an 
 accessory part of the picture. 
 
 Engraved by R. Cockburn. 
 
 No. 145 . FISHING ON THE ICE. A crowd of people with a 
 fishing-net stand on the ice ; sledges and barrels on the left. Near the 
 shore a windmill. Grey sky. 
 
 On Panel. 1 ft. 3 in. high ; 1 ft. 8 in. wide. 
 
 Musees de la Hollander ii. p. 211. 
 
CZJIJP. 
 
 45 
 
 Winter scenes by A. Cuijp are very rare. We miss here the im- 
 pression of cold air by which the objects ought to appear in sharp 
 outlines. A similar picture, but larger, is in the Duke of Bedford’s 
 -Collection. 
 
 K'5) No. 83. CATTLE NEAR A RIVER. To the right, a spit of 
 meadow by the side of a river. Five cows lying down, and a horse 
 standing ; a young oak divides this from the second group of two cows — ■ 
 one standing, red, one lying down ; four sheep, and a woman tending 
 them. She wears a blue dress with white sleeves. In the middle 
 distance are seen two men ; rocks behind. To the left, on the river, 
 a boat. Bright, calm, sunny sky. 
 
 Signed 
 
 A c 
 
 On Canvas. 3 ft. high ; 3 ft. 10^ in. wide. 
 
 Unusually splendid in its harmony, the principal colours being 
 emerald-green and copper-brown ; Cuijp’s picture No. 822 in the 
 National Gallery (Peel Collection) is of a similar tone of colour. 
 
 This picture was bought by Sir P. F. Bourgeois from the Collection 
 of R. Hulse, Esq., in 1806, for 225 guineas. 
 
 ' No. 141 . EVENING RIDE NEAR A RIVER. On the left, 
 a shepherd and sherpherdess near a pool overgrown with trees ; behind, 
 a river with a view of the opposite woody shore. On the right, two 
 riders on a road, and a declivity of a mountain behind. Clear evening 
 sky of a warm summer day. 
 
 Signed 
 
 On Panel. 1 ft. 6f in. high ; 2 ft. 1^ in. wide. 
 
 Especially attractive by the rich golden tone of the evening light, 
 and by the warm shadows in the foreground. 
 
 Engraved by R. Cockburn; and by T. Mayor in 1769. The picture 
 was then in possession of John Barnard, Esq. 
 
 Mentioned by Waagen. 1 
 
 No. 163. A ROAD NEAR A RIVER. In the centre two high 
 trees, beneath which two shepherds reposing j on the left, a youth on a 
 donkey, and a shepherdess. Fishing peasants on the other bank of the 
 
 1 Waagen, Treasures of AH, vol. ii. p. 344 : f Also a good picture by the 
 master.’ 
 
46 
 
 cuiyp. 
 
 river. To the right, high trees, a cottage, and mountains ; to the left, in 
 the distance, a valley. Evening sky. 
 
 On Canvas. 3 ft. 8|- in. high ; 5 ft. 6 in wide. 
 
 A masterpiece of the artist, conspicuous by its broad and skilful 
 execution. 
 
 Desenfans’ Catalogue, No. 142. 
 
 Mentioned by Waagen. 1 
 
 No. 169. CATTLE AND FIGURES NEAR A RIVER, WITH 
 MOUNTAINS. In the foreground, two cows ; a shepherd conversing j 
 with a flute-player. On the right, in the middle distance, cattle and 
 figures below steep rocks. The width of the middle distance is occu- 
 pied by a river ; behind it, meadows and mountains ; somewhat clouded 
 sky ; red evening tints to the left. 
 
 On Canvas. 3 ft. 3| in. high ; 4 ft. 8f in. wide. 
 
 A first-rate picture, specially noticeable for the strength and clearness 
 of light, the transparency of the still full- coloured shadows, the firmness 
 of modelling, and the true perspective of the depth of the landscape in 
 comparison with the endless height of the sky. For the representation of 
 the mountains in the background, however, the Dutch painter did not 
 follow nature. 
 
 Mentioned by Waagen. 2 * 
 
 No. 239. CATTLE NEAR A RIVER. In the centre, a group 
 of cows lying on a bank, in deep shadow. Behind, a river, with houses 
 and a tower on the opposite shore ; grey evening clouds ; close air. 
 
 On Panel. 1 ft. 1 1 in. high ; 2 ft. 4^ in. wide. 
 
 The deep tones and the impasto in the foreground are in striking 
 contrast with the delicate vapour which envelops the background. A 
 very fine work of the master. 
 
 1 Waagen, Treasures of AH, vol. ii. p. 344 : 4 A rich, well-executed picture.’ 
 
 2 Ibid. : 4 In composition, depth, glow, and clearness ef colouring and general 
 
 feeling of rural tranquillity on a warm summer’s evening, this is one of the most 
 
 beautiful works of the master.’ 
 
 Signed 
 
CUIJP. 
 
 47 
 
 Mentioned by J. A Crowe . 1 
 Mentioned by Waagen . 2 
 Engraved by It. Cockburn. 
 
 No. 243. CATTLE NEAR THE MAAS (MERWEDE), WITH 
 DOB-T IN THE DISTANCE. On the right, a group of cows with a 
 milkmaid ; on the left, the Maas with ships ; behind it, the church and 
 houses of Dort. A threatening cloudy sky. 
 
 Signed 
 
 On Panel. 2 ft. 5£ in. high ; 3 ft. 5£ in. wide. 
 
 The execution of the foreground is less carefully done than usual ; 
 the representation of the storm-clouds which gather thickly over the 
 landscape is masterly. 
 
 The following pictures are far from perfect in many parts ; neverthe- 
 less they bear the genuine signature ‘A. Cuijp;’ some of them are 
 probably only studies which the painter prepared for his larger compo- 
 sitions. 
 
 ' ! No. 5. COWS AND SHEEP. To the left, two cows and three 
 sheep ; behind them, a few houses ; on the right, a wall ; a town in the 
 distance ; grey cloudy sky ; signed below on the right. 
 
 A. C. 
 
 On Panel. 1 ft. 2f in. high ; 1 ft. 7f in. wide. 
 
 An early work ; especially clever in the representation of the broad 
 and transparent shadows. 
 
 No. 184. A VIEW ON THE MAAS, WITH DORT IN THE 
 DISTANCE. In the foreground, goats, sheep, and cows, two boys, and 
 a woman milking a cow. In the distance a view of Dort. Clear sky, 
 with clouds to the right. Signed 
 
 A c % 
 
 J fifh'An !>■ • 
 
 On Canvas. 2 ft. J in. high ; 2 ft. in. wide. ^ /IlK ‘ C? 
 
 Only remarkable for the delicate harmony of the background. 
 
 1 Handbook of Painting, German, Flemish, and Dutch Schools, ‘Cuijp,’ Part 
 II. ch. iv. p. 461 : ‘ As an especially fine example of his favourite contrasts be- 
 tween dark-coloured cattle and a warmly-lighted river, I may mention No. 239 in 
 the Dulwich Gallery.’ 
 
 2 Waagen, Treasures, vol. ii. p. 344 : ‘ The contrast between the dark-coloured 
 animals and the clear water is very striking ; the impasto admirable.’ 
 
4 8 
 
 CUIJP. 
 
 No. 13. (School of A. Cuijp.) A RIDING-SCHOOL IN THE 
 OPEN AIR. On the right four gentlemen on horseback ; before them, a 
 white horse with a rider in a carmine coat. On the left, a horse being 
 trained in a circular walk, and other figures. An old castle near a river, 
 trees, and a hill form the background. 
 
 On Panel. 1 ft. 2f in. high ; 1 ft. 7f in. wide. 
 
 Also an early picture, strong in colour, and well preserved. 
 
 This appears to be the same picture that was formerly in the Col- 
 lection of M. van Slingelandt. See Smith’s Catalogue, No. 28. 
 
 No. 180. (Painted in imitation of Cuijp.) FLAT LAND- 
 SCAPE WITH SHEPHERDS AND SHEEP. To the right, two 
 shepherds, one standing, the other lying on the ground. A river occu- 
 pies the width of the middle distance. Greyish sky. 
 
 On Panel. 2 ft. 4§ in. high ; 1 ft. 6 in. wide. 
 
 A pasticcio, painted in imitation of A. Cuijp by a late artist. 
 
VAN DEELEN.— Dutch School. 
 
 Born 1607 (?) Died 1673 (?) 
 
 IRK VAN DEELEN was born at Heusden (or at 
 Alkmaar) probably in the year 1607 (1605 ?). He 
 was thrice married : first, to Maria van der Gracht (d. 
 1650, aged 62) ; secondly, Catherina de Have (d.1652,. 
 aged 34) ; and thirdly, Johanna van Balen (d. 1668, aged 68). Van 
 Deelen was much esteemed, even in his lifetime, as a painter of 
 architectural and perspective views. He lived at Arnemuijden, 
 in Zealand, where he was made burgomaster of the town in his 
 later years. He died on May 16, 1673 (?), aged 66 } 
 
 Pictures of this master are very rare. They represent the 
 interior and exterior of palaces in the Renaissance style. 
 Although of great merit, they are nevertheless somewhat hard 
 and metallic, and the colour often appears wanting in harmony 
 when compared with later masters, who treated the same sub- 
 jects. The figures in his pictures are generally painted by Le 
 Due, Dirk Hals, Pieter Codde, van Herp, Anthonis Palamedesz* 
 Phil. Wouwerman, and Boeijermans. 
 
 No. 258. THE ENTRANCE OF A PALACE. In the fore- 
 ground, a large doorway ; behind it a courtyard and entrance-hall, with, 
 rococo ornaments. Two greyhounds on the pavement. Two figures 
 pass to the right into a doorway ; another is going up the staircase under 
 a portico. On the landing at the top of the steps, a lady and a youth. 
 
 Signed and dated 
 
 D V DELEN T 1654 
 
 On Panel. 1 ft. 7^ in. high ; 1 ft. 3^ in. wide. 
 
 1 Houbraken, Groote Schouburgh, states by mistake that Dirk van Deelen was 
 a scholar of Franz Hals. His authority, C. de Bie, Het Guldencabinet , 1662, 
 p. 281, though writing at the same time about Deelen and Phil. Wouwerman, speaks 
 only of the latter as Hals’ pupil. See W. Schmidt in von Lutzow’s Zeitschrifb 
 fiii' Bildende Kunst, vol. ix. p. 95. 
 
50 
 
 VAN DIJCK . 
 
 VAN DIJCK. — Flemish School. 
 
 Born 1599 . Died 1641 . 
 
 NTONIUS VAN DIJCK was born at Antwerp on 
 March 22, 1599. H is father, Franz van Dijck, was 
 a silk-merchant, and his mother, Maria Cuypers, 
 was very skilful in embroidery. 1 The van Dijcks 
 were known to be a very pious Roman Catholic family. In the 
 year 1509 Antonius van Dijck became the pupil of Hendrick van 
 Balen, who belonged to the earlier Flemish Renaissance School. 
 He was admitted into the Painters’ Guild in the year 1618, 2 and 
 it is probable that he was already then employed in Rubens’ 
 studio. When, in the year 1620, the Jesuits made a contract 
 with Rubens for the decoration of their church, one of the con- 
 ditions was that van Dijck should be employed as a working 
 pupil. 3 At the end of that same year, or in the beginning of 
 1621, van Dijck was engaged by James I. to stay for some time 
 in England. 4 On December 1, 1622, he was back again in 
 Antwerp. In the spring of 1623 he undertook a voyage to 
 Italy, staying at Venice, Rome, Palermo, and especially at 
 Geneva. He returned by way of Paris to Antwerp (1626). In 
 the year 1629 King Charles bought, through the medium o 
 Endymion Porter, from van Dijck, his great picture, ‘Rinaldc 
 and Armida,’ for ySl . 5 In the spring of 1632 he went himself t( 
 London, and being recommended by the Earl of Arundel 
 was received most courteously by Charles I. The Kind 
 assigned him apartments at Blackfriars, and a summer resident 
 at Eltham, in Kent. He also received the title of‘Principa i 
 Painter of their Majesties at St. James’s,’ and was knighted by th< 
 King on July 5, 1632. October 17, 1633, he granted him ai 
 
 1 Cornelius de Bie, Set GuldencaMnet. 
 
 2 In the Liggere (Guild-Book), his name is spelt 4 Anthonio van Dick.’ 
 
 3 According to Kramm, De Levens , &c., Antonis van Dijck was a member of tl 
 
 4 Jonghmans Sodales van de H. Maghet Maria ’ — a brotherhood founded by tl 
 Jesuits in 1627. C. Lembke (Anton van Dijch, Leipzig, 1876, p. 63) points oi 
 that the connection which van Dijck had with the Jesuits forwarded in lab 
 times his relations with the English court. 
 
 4 W. Carpenter, Memoir of Sir Anthony Vandych , &c., London, 1844. C 
 February 16, 1621, he received 100?. for a special service rendered to the King. 
 
 5 Now in possession of the Duke of Newcastle. 
 
VAN DIJCK . 
 
 5i 
 
 annual pension of 200/. for life. It is not known at what time 
 tie married Maria Ruthven, in the household of Queen Henrietta. 
 Her father, fifth son of Lord Ruthven, Earl of Gowrie, was a 
 :elebrated physician. ‘ Sir Anthony always went magnificently 
 Iressed, had a numerous and gallant equipage, and kept so good 
 a table in his apartment, that few princes were more visited or 
 better served.’ 1 During the political disturbances van Dijck, in 
 the autumn of 1640, returned to Antwerp, where Rubens had 
 lied that same year, in May. In January 1641, he went to Paris, 
 but not meeting there with the success he had expected, he re- 
 turned to England (in March 1641 ?) 2 On December 9, 1641, 
 he died at Blackfriars, after a severe illness, and was buried in 
 the Old Church of St. Paul’s. He left a large property (about 
 20,000/.) to his wife and his daughter Justiniana (then only eight 
 days old), and to other relations. 
 
 In the artistic development of van Dijck three periods 
 ire to be discerned. In the first, he was scholar and rival 
 Df Rubens ; in the second, he appears to be influenced by the 
 Venetians, especially by Titian. The third period comprises 
 his time in England, where a cooler and paler harmony pre- 
 dominates in his pictures. Van Dijck was seldom successful 
 in the composition of historical subjects, but had a prominent 
 talent for the comprehension and representation of aristo- 
 cratic personages, giving a special emphasis to their courtly 
 ippearance and commanding beauty. He characterises ad- 
 mirably in his pictures charm and elegance as well as grief. His 
 strength lies in the expression of aristocratic feeling, to which he 
 liked to give a touch of melancholy. He at once gained the 
 favour of the English nobility, who found in his style of repre- 
 sentation just that ideality with which they wished their portraits to 
 be invested. Van Dijck, like Rubens, seldom painted his pictures 
 without assistance. He himself sketched the figure in little more 
 dian an hour, and painted the heads ; the dresses he had sent to 
 iim, and had them copied by pupils, giving, after this, another 
 md last touch to the picture. Indeed, in his portraits the heads, 
 is a rule, offer the sole attraction, the hands being always painted 
 
 1 Graham, Essay towards an English School, at the end of the translation of 
 De Piles. London, 1706. 
 
 2 According to Hookham Carpenter. See Catalogue du Musee d' Anvers, troi 
 iieme edition complete, 1871, p. 158. 
 
 E 2 
 
52 
 
 VAN DIJCK . 
 
 on one systematic model. The colour, although generally cool 
 in tone, surpasses in freshness even that of Titian. There are 
 nearly 280 portrait-pictures by his hand. He also engraved a 
 series of portraits. 
 
 No. 135. THE MADONNA AND INFANT SAVIOUR. Half- 
 length figure of the Madonna, life-size, standing, wearing a red dress and 
 blue mantle. She holds the Child with both hands, standing on a stone 
 base and clinging to his mother ; to the right, a large column in the back- 
 ground. 
 
 On Canvas. 4 ft. 8 in. high ; 3 ft. 5 \ in wide. 
 
 Very animated in its composition; the head of the Madonna very 
 expressive. This picture is a replica of the celebrated Madonna in the 
 Bridgwater Gallery, but less brilliant in colour. Others are to be found 
 at Blenheim and at Dresden. 
 
 Engraved by Pontius, Carmona, Finden, and Salvador. 
 
 No. 124. CHARITY, WITH THREE BOYS. Charity, a three- 
 quarter-length figure, turned to the right, sits in the centre, her face 
 turned upwards. She is in white drapery, with a blue scarf round her 
 shoulders and a red mantle on her lap, on which sits a boy ; two others 
 lean against her shoulders. In the background, to the left, a dark wall ;, 
 to the right, a curtain ; blue sky, with clouds, behind. 
 
 On Canvas. 4 ft. 6^ in. high ; 3 ft. 5 in wide. 
 
 Painted in the school of van Dijck, probably under the direction of 
 the master. There exist repetitions of this subject, painted by van Dijck, 
 in the Collection of Lord Methuen and Mr. Hope. 1 
 
 Engraved by Cankerken and W. Ryland. 
 
 No. 214. PORTRAIT OF PHILIP HERBERT, FIFTH EARL 
 OF PEMBROKE. Half-length figure, life-size, turned to the left; long 
 fair hair, thin moustache ; the left hand placed on his hip, the right on 
 the breast, covered by a maroon-coloured mantle, thrown over his 
 shoulder. Dark background. , 
 
 On Canvas. 3 ft. 3§ in. high ; 2 ft. 8|- in wide. 
 
 Van Dijck painted Philip, fifth Earl of Pembroke, with his family, 
 in a picture in the Earl of Pembroke’s Collection at Wilton House. It is 
 the largest family picture he ever painted (11 ft. high and 19 ft. wide). 
 In the centre are seated the Earl and Countess, dressed in black silk. 
 On their right are their five sons, standing. Close to the Earl, Charles 1 
 Lord Herbert, turned to the right, and seen in profile ; on the left hand 
 of the Countess is her daughter, Lady Anna Sophia, and her husband 
 Robert, Earl of Carnarvon, &c. There exists, certainly, a very great; 
 likeness between the features of Charles, Lord Herbert, as represented ini 
 
 1 See Mrs. Jameson’s Private Collections, p. 461. 
 
VAN DIJCK. 
 
 53 
 
 the picture at Wilton House, which has been engraved by B. Baron, 1 
 and the above-described portrait in the Gallery. This has previously 
 been described as representing Philip, fourth Earl of Pembroke, with 
 whose authentic portrait it has very little in common. 
 
 ‘ The so-callecl Earl of Pembroke, by Van Dyck — if one of the family 
 at all — would be Philip Herbert, afterwards fifth Earl of Pembroke, who 
 succeeded his father in 1649. He was painted as a youth by Van Dyck; 
 engraved by Lombard among the " countesses.” ’ 2 
 
 This portrait is of an imposing character : the tones of the colours are 
 ' delicate ; the arrangement of the draperies is somewhat decorative. It 
 was purchased from Mr. Bryan’s Collection in 1798; formerly in the 
 possession of Sir Joshua Beynolds. Smith’s Catalogue, No. 521. 
 
 No. 250. PORTRAIT OF LADY PENELOPE NAUNTON. 
 Three-quarter length figure, life-size, standing facing the spectator : her 
 left hand raised to the waist, and holding a brownish scarf; low red 
 dress, pearl necklace and earrings ; amber-coloured background and 
 green curtain on the right. 
 
 On Canvas. 3 ft. 11 in. high ; 3 ft. £ in. wide. 
 
 Mr. G. Scharf takes this portrait to be Penelope Naunton, first wife 
 of the above Earl Philip ; she was a widow when he married her. 
 
 In the execution of this picture van Dijck was apparently assisted 
 by one of his pupils. 
 
 No. 242. PORTRAIT OF LADY VENETIA DIGBY ON 
 HER DEATH-BED. Only the head and the right arm, against which 
 she leans her cheek, are visible : she is seen full face, turned a little to 
 the left. A faded rose on the sheet ; dark blue counterpane and cur- 
 tains. The figure is life-size. 
 
 On Canvas. 2 ft. 5 in. high ; 2 ft. 7^ in. wide. 
 
 Lady Anastasia Venetia Digby was the daughter of Sir Edward 
 .Stanley and Lady Lucy Percy, and wife of Sir Kenelm Digby. She was 
 found dead on her couch one morning ; her husband sent for his friend 
 van Dijck, who made a portrait of her, in the attitude in which she was 
 found. She died in 1635. Her husband, who loved her to madness, and 
 who piqued himself on being an adept in medical and occult science, was 
 _ supposed at the time to have hastened her death by certain potions he 
 had administered to her for the purpose of heightening her charms. 
 
 A similar picture is in Earl Spencer’s Collection at Althorp. 
 
 No. 218. PORTRAIT OF A KNIGHT. Three-quarter length 
 figure, standing and turned slightly to the left ; life-size ; about thirty- 
 five years of age, black short hair and beard, aquiline nose, blue eyes ; 
 damasked cuirass; the left hand resting on his sword, the right holding a 
 
 1 This engraving is inscribed, ‘ A. van Dyck eques pinxit. B. Baron sculp. 
 1740. Tabulam illam celeberrimam ab Antonio Vandyke equite depictam, ac in 
 sedibus Wiltonianis adservatam, in qua Philippus Pembrokias conies, ejus nominis 
 primus, aliique e gente ilia illustrissima .... ad vivum exhibentur.’ 
 
 2 Dr. Richter is indebted for this information to Mr. George Scharf, 
 Director of the National Portrait Gallery. 
 
54 
 
 VAN DIJCK. 
 
 marshal’s staff; white stiff collar; behind him, to the right, on a table, 
 a helmet and gloves. Dark background. 
 
 On Canvas. 4 ft. \ in. high ; 3 ft. 2f in. wide. 
 
 Yan Dijck has painted here almost only the head and the left hand. 
 According to Smith, who attributed this picture to van Dijck, it repre- 
 sents the Archduke Albert. 1 Dr. Waagen looked on it as the work of 
 Rubens. 2 
 
 No. 213. ( School of van Dijck.) PORTRAIT OF A LADY* 
 About forty years of age, sitting in an arm-chair, fair hair, black felt hat, 
 and black damask dress, deep white falling collar, with lace edging, white 
 gloves. Faded green drapery as background. 
 
 On Canvas. 2 ft. 11 in. high ; 2 ft. 3 in. wide. 
 
 No. 26. (School of van Dijck.) THE DESCENT FROM THE 
 CROSS. In the centre, the Cross. Two men, on ladders, let down the 
 body of Christ, which St. John receives. He wears a green tunic and 
 red mantle. To the left, the Virgin faints in the lap of Mary Magdalene, 
 who demonstrates her agony by uplifted and outstretched arms. To the 
 right, a figure in brown mantle, seated on the ground. Dark back- 
 ground, with bits of blue sky ; cherubs’ heads round the Cross. 3 
 
 On Panel. 1 ft. 10 1 in. high ; 1 ft. 4§ in. wide. 
 
 Delicately executed ; but not well preserved. 
 
 No. 234. (School of van Dijck). THE INSPIRATION OF A 
 SAINT. The Saint, a bishop, kneels at an altar. Another bishop and 
 a youth behind him. Two angel boys are in the foreground, with a 
 pastoral staff and a book. Two angels in the background, one holding a 
 mitre. Three angels in the air. A ray of light descends on the Saint’s 
 breast. Columns in the background. 
 
 On Panel. 1 ft. of in. high ; 1 ft. 1 in. wide. 
 
 No. 167. (After van Dijck.) A GREY HORSE. The horse 
 stands nearly in front, with flowing mane and saddle-cloth ; grey sky. 
 
 On Paper ; mounted on Panel. 1 ft. 6^ in. high ; 1 ft. 5 in. wide. 
 
 Subject very often repeated in the School of van Dijck. 
 
 1 Smith’s Catalogue, No. 682. 
 
 3 Treasures of Art, by Waagen, vol. ii. p. 342. 
 
 5 It has been stated by Mrs. Jameson (p. 447) and others, that this picture is 
 dated 1619 ; but the number 2619 in the right corner is evidently a collector’s 
 mark. 
 
DOLCI. 
 
 55 
 
 DOLCI. — Florentine School. 
 
 Born 1616. Died 1686. 
 
 ARLO DOLCI was born at Florence, May 25, 1616. 
 His father, Andrea Dolci, a tailor, died when Carlo 
 was four years of age. His mother Agnese, born 
 Marinari, gave him a very religious education, and 
 placed him in the studio of the painter Jacopo Vignali. In the 
 year 1648 he became a member of the Accademia del Disegno. 
 He left Florence only once for Innsbruck, in the Tyrol, to paint 
 a portrait, by order of the Grand Duke of Tuscany, at the court 
 of the Archduke Ferdinand Carl of Austria. He was of a very 
 timorous nature, and given to melancholy. He died at Florence, 
 Jan. 1 7, 1686. 
 
 Carlo Dolci painted chiefly Saints, figures, and portraits. 
 His pictures are executed with assiduity, and are of a melting 
 system of colour. His types show a lively taste for beauty, but 
 his conception is sentimental, effeminate, conventional, and 
 devoid of energy, although they were doubtless intended to 
 express deep religious devotion. Amongst his pupils were : 
 Onorio Marinari, Alessandro Lomi, Bartolomeo Mancini. His 
 daughter Agnese, married to Stefano di Carlo Lomi, imitated 
 him cleverly. 
 
 No. 337 . CATHERINE OF SIENNA. Head of a young nun 
 in adoration, turned to the left. She wears the white veil and black 
 dress of the Order of St. Dominic ; a crown of thorns on her head ; the 
 eyes cast down ; a tear bedews her cheek. The features are those of a 
 portrait. 
 
 On Panel. 9£ in. high ; 7f in. wide. 
 
 Saint Catherine of Sienna (1347-1380) was highly celebrated for 
 her ascetic devotion. This picture, a chef-d'oeuvre of Carlo Dolci, was 
 formerly described as being a Mater Dolorosa ; it is executed with the 
 greatest care ; the brightness of the colours and the bright light are of 
 great effect. 
 
 No. 217 . SAINT VERONICA. Half-length figure, life-size, seen 
 in front ; red dress, blue mantle, brown scarf. The attitude of the head, 
 
56 
 
 DOL CL — DOMENICHINO. 
 
 and the movement of the hands, expressing astonishment. Round the 
 head a nimbus ; dark background. 
 
 On Canvas. 2 ft. 7 in. high ; 2 ft. 1 ± in. wide. 
 
 Formerly in Prince Rupert’s Collection. Desenfans’ Catalogue, No. 13, 
 where it is stated that the background was gold-coloured. 
 
 DOMENICHINO.— School of Bologna. 
 
 Born 1581. Died 1641. 
 
 OMENICO ZAMPIERI, called IL DOMENI- 
 CHINO, was born at Bologna, Oct. 21, 1581. His 
 father, a shoemaker, had at first destined him for the 
 study of science, but yielding to his wishes, sent him to 
 the studio of Dionysius Calvaert, a Flemish artist, who had settled 
 at Bologna. It was there that he made the acquaintance of 
 Guido Reni, and they both entered the school of the Carracci, 
 where Domenichino became an intimate friend of Albani. In 
 Parma he studied the works of Correggio ; in Rome, whither he 
 was called by Albani, he aided Annibale Carracci in the fresco- 
 paintings in the Palazzo Farnese. His frescoes at Grottaferrata, 
 near Rome, £.nd his most important oil-painting, the ‘ Com- 
 munion of St. Jerome,’ now in the Vatican, painted about 1517, 
 excited the jealousy of Guido Reni, Lanfranco, and others, on 
 account of which he returned to Bologna on April 18, 1612 ; but 
 a month later he was again called to Rome to execute new 
 works. Afterwards he married at Bologna. When Cardinal 
 Ludovisi was made Pope in the year 1620, under the name of 
 Gregory XV., he received fresh orders, and was appointed archi- 
 tect of the Apostolic Chamber. After the death of the Pope 
 (1623) he was called to Naples, in order to decorate the Chapel 
 of St. Januarius. He was there exposed to the intrigues of the 
 painters belonging to the naturalistic school, and died, it is said, 
 through poison, on April 15, 1641. 
 
 Domenichino is the cleverest and ablest painter of the 
 School of the Carracci. He is very uneven in his colouring, but 
 his design is very careful, and his compositions are often 
 imposing. He was also an important landscape painter. His 
 scholars are : A. Camasseo, F. Cozza, A. Barbalunga, A. For- 
 tuna, Piero del Po. 
 
DOMENICHINO—DOU. 
 
 5 7 
 
 No. 349. THE ADORATION OF THE SHEPHERDS. In 
 the centre, the crib, with the infant Christ ; behind it, his mother kneel- 
 ing, uncovering the Child ; near her, three angels in adoration. In the 
 foreground, to the right, four shepherds kneeling ; two others entering 
 the doorway ; before the crib, two boys, one offering a dove. To the left, 
 a man standing and playing on a bagpipe. In the background, St. 
 Joseph giving a bundle of straw to the ass. A wall behind; on it 
 three angel boys holding a scroll and singing. A composition of eighteen 
 figures. 
 
 On Canvas. 4 ft. 7 £ in. high ; 3 ft. 8^ in wide. 
 
 Cleverly composed, and carefully drawn. The colours of bright, but 
 icool tones. Probably an early work of the master. 
 
 DOU. — Dutch School. 
 
 Born 1613. Died 1675. 
 
 ERARD (GERRIT) DOU (properly Douwensz, son 
 of Dou) was born at Leyden, April 7, 1613. His 
 father, Douwe Tanszoon, a glazier, placed him, when 
 nine years of age, with an engraver, Bartholomseus 
 Dolendo, in order to learn drawing, and some time afterwards 
 apprenticed him to Pieters Kouwenhouen, a glass-painter. In 
 his fifteenth year, 1628, the youth, by his own wish, entered, 
 at Leyden, Rembrandt’s studio, where he remained for three 
 years, and learnt oil-painting. Rembrandt himself was then 
 only twenty years of age. Dou established himself in his 
 native town as an independent artist, and lived there all his 
 life, except between the years 1651 and 1657, and 1668 and 
 1672. He died there in February 1675. 
 
 He began to paint at first portraits, and afterwards repre- 
 sentations of family and professional life of the middle and 
 lower classes, in small sizes, with, as a rule, not more than three 
 figures. ITe doubtless owes to Rembrandt the clearness and 
 strength of his colouring and the treatment of the chiaroscuro. 
 His acute observation, unequalled precision, and the great 
 patience which he devoted even to the smallest details, have 
 always been greatly admired. The German painter Sandrart 
 relates that he once visited, with Pieter de Laar, the studio of 
 G. Dou, and that he admired, with him, the great care bestowed 
 by the artist on the painting of a broomstick. Dou remarked 
 that he would have to work at it still for three days. His pic- 
 
58 
 
 DOU—DU JARDIN. 
 
 tures remind one of the artificial effects of a camera-obscura, 
 and in this respect are entirely opposed to the artistic intentions 
 of Rembrandt. 
 
 No. 106 . A LADY PLAYING ON THE VIRGINALS. The 
 lady, a whole-length figure, turned to the left, and seen in profile, is 
 seated in a red, straight-backed chair, before a window. She wears a 
 light-blue jacket, greyish dress, and white apron. The virginals, on 
 which she is playing, stand on a table. In the background, a screen. 
 On the right, a large piece of rich tapestry looped up to the ceiling 
 over a table, on which lie a flute, an open music-book, &c. A wine- 
 cooler with a flask in it, and a spray of vine, occupy the foreground to- 
 the right. A birdcage is hung in the middle of the room. 
 
 On Panel. 1 ft. 2f in. high ; 11^ in. wide. 
 
 A very remarkable work, unusually rich in composition, and well- 
 preserved. 
 
 Desenfans’ Catalogue, No. 127. 
 
 No. 85 . AN OLD WOMAN EATING NEAR A FIREPLACE. 
 The woman, a full-length figure, turned to the left, is seated in an arm- 
 chair before a fire \ she wears a black jacket, dark green apron, and white 
 cap, and is eating with a spoon from a pipkin. In the background 
 stands a large bedstead. 
 
 On Panel. 2 ft. 6 in. high ; 1 ft. 3 in. wide. 
 
 Desenfans’ Catalogue, No. 129 ; formerly in the Orleans Gallery. 
 
 This picture has been declared to be by Gerard Dou. If it really be 
 by this master, it can only have been painted by him when in the studio 
 of Rembrandt, and must be regarded as a study rather than as a 
 finished picture. In some respects, however, for instance, in the tone of 
 the reddish brown colours, this picture recalls the earliest manner of 
 NICOLA AS MAES, born at Dort in 1632, died at Amsterdam in 1693. 
 In his first period this painter was under the influence of Rembrandt, but 
 later on, during his stay at Antwerp, he was influenced by the Flemish 
 School. As, however, sufficient proofs for fixing the authorship of this very 
 interesting picture are still wanting, its traditional name may still be kept, 
 but not without reserve. 
 
 DU JARDIN.— Dutch School. 
 
 Born about 1625. Died 1678. 
 
 AREL DU JARDIN (or DUJARDIN) was bom at 
 Amsterdam (?) about the year 1625. He was £ 
 scholar of Claas Berchem, and further developed hb 
 style under the influence of Paulus Potter. Wher 
 still young, he wandered to Italy, settled in Rome, and joinec 
 
DU J A R DIN. 
 
 59 
 
 the ‘ joyous academical band,’ where the nickname ‘ Bockbaard * 
 goat’s-beard ’) was given to him. On his return from Italy, he 
 is said to have stayed some time at Lyons, where he married a 
 widow, with whom he afterwards settled in Holland. Du Jardin 
 was at the Hague in the year 1656-57, where he became one of 
 the founders of the ‘ Pictura’ Society. In 1659 he was living at 
 Amsterdam, but returned to Italy some years later, leaving his 
 wife, and lived in Rome. 1 He died at Venice on November 20, 
 1678. 
 
 Du Jardin painted mostly Italian landscapes and scenery, 
 but, unlike his master, Berchem, generally without antique ruins. 
 They are more of a pastoral character, in the genre of Paulus Potter, 
 whose technical method he imitated in some respects in his best 
 pictures. His manner is not less ingenious than Berchem’s, but 
 he is more intent on showing the gradations and harmony of 
 light and shadow. His representations of Italian nature and 
 Italian scenery are perfect in their accuracy, and it is only in 
 their conception that one misses somewhat the naivete of the 
 Dutch character ; they are sometimes marked by a humorous 
 turn. He is one of the few Dutch painters exalted by his 
 Flemish contemporary C. de Bie. 2 His pictures are very unequal 
 in their merits, and it has rightly been said that they are excel- 
 lent when not detestable. 3 Fifty-two engravings by him are 
 known, dated from 1652 to 1660. Jan Lingelbach and Willem 
 Romeijn were amongst his scholars. 
 
 No. 229. A SMITH SHOEING AN OX. In the centre of the 
 foreground a red ox is being shod ; the smith stoops down, with his back 
 to the spectator ; to the left, a boy, and a farmer, in a large slouch hat 
 and ample grey cloak ; to the right, three hens. The background is 
 formed by a smith’s shop and a wall. Blue sky. 
 
 Signed 
 
 ]>V JATVDl 4A_ 
 
 On Panel. 1 ft. in. high ; 1 ft. 4^ in. wide. 
 
 1 This information is not to be found in Art literature, but it becomes evident 
 from the following signature on a drawing of his (representing a Roman land- 
 scape with figures) in possession of R. P. Roupell, Esq. : ‘ 1676, K. Dv Iardin f. 
 Romae.’ 
 
 2 Het Guldencabinet, p. 377. 
 
 3 W. Burger, Musees de la JTollande, vol. ii. p. 183. 
 
6o 
 
 DU JA RD IN — D U SA R T. 
 
 The costume of the figures is Italian. The execution of this picture 
 shows great accuracy and care ; the broad grey shadows, which extend 
 over nearly the whole scene, are evenly finished, with great skill. 
 
 Smith’s Catalogue, No. 15. Sold in 1806 for 120 guineas. 
 
 No. 62 . PEASANTS AND A WHITE HORSE IN A LAND- 
 SCAPE. In the foreground, a white horse ; to the left, a ram, feeding ; 
 to the right a man poorly dressed and sitting on the ground ; he is in 
 conversation with a girl who leads a donkey ; three other figures behind. 
 The background is formed by a woody valley, in which stands a convent. 
 Evening sky. 
 
 On Canvas. 1 ft. 5 in. high ; 1 ft. 8^ in. wide. 
 
 Painted under the influence of Caravaggio. The figures very natu- 
 ralistic. 
 
 Engraved by R. Cockburn. 
 
 No. 47 . (School of Du Jardin.) A WOMAN AND COWS ON 
 A ROAD. A woman in a white dress and red mantle carrying a pitcher; 
 to the right, a cow and a goat standing, and another cow lying down ; to 
 the left, a fountain. Behind these, cottages and a tree ; in the distance, 
 blue mountains. Sky blue, with a few clouds. 
 
 On Panel. 9 in. high ; 7 in. wide. 
 
 Painted by an unknown artist, under the influence of Du Jardin. 
 
 DUSART.— Dutch School. 
 
 Born 1660. Died 1704. 
 
 ORNELIUS DUSART was the son of Jan Dusart 
 (or Tucert) from Utrecht, who had lived in Harlem 
 since 1650, and who had married in 1656 Catherina 
 Brouwers from Harlem. It was here that Cornelis 
 was born, April 24, 1660. It is not known when he entered 
 as a pupil the studio of Adriaen van Ostade. On January 10, 
 1679, he was admitted into the Painters’ Guild. 1 In the year 1682 
 his name is mentioned in the parish registers of the Reformed 
 Church ; he was then unmarried. C. Dusart died on October 1 , 
 1704. The objects of art left by him were sold four years 
 afterwards by auction. Amongst them were, besides Italian 
 
 1 It was in this same year that he painted a dated genre picture, No. 1671 at 
 the Dresden Gallery. In the British Museum is to be found a superior drawing of 
 this master, washed with milk, and dated, ‘ Corn. Dusart fe. 1667 ,’ therefore exe- 
 cuted when seventeen years of age. 
 
DUSART— DUTCH SCHOOL . 
 
 61 
 
 pictures , 1 also ‘ engravings after the best Italian, French, English, 
 and Dutch painters / 2 
 
 Cornelis Dusart was a faithful follower of his master, Adriaen 
 van Ostade. He painted especially representations of village 
 fetes, drinking bouts, peasants quarrelling, charlatans, & c., where 
 he well characterises the unrestrained joy of the lower classes, but 
 often the design degenerates into caricature. His colouring is 
 usually cooler in tone, and also more variegated than that of his 
 master. 
 
 No. 104. A PEASANT FAMILY IN THE YARD OF A 
 RUINED BUILDING. The interior of a courtyard, surrounded by 
 the remains of a large building, one archway of which serves to frame the 
 whole composition. On the left, a donkey is lying down ; on the right, a 
 woman seated in a low chair, suckling her baby ; a cat at her feet ; 
 opposite her, a peasant standing talking to her, and behind him a dog. A 
 wooded country beyond. 
 
 On Panel. 1 ft. 5^ in. high ; 1 ft. 2 in. wide. 
 
 One of the artist’s best works, harmonious in colouring, clever in 
 composition, and in conception quite original and independent of Adriaen 
 van Ostade. 
 
 Mentioned by Waagen. 3 
 
 DUTCH SCHOOL, 17th century. — Unknown 
 
 Artists. 
 
 The following pictures are of too indistinct a character to be 
 ascribed to any of the known Dutch masters : — 
 
 No. 19. A HAWK AND SPARROWS. The hawk stands over 
 a hen- sparrow that it has killed, and, open-mouthed, defies the cock-bird, 
 which stands in an attitude of attack to the left ; a tree-stump and some 
 honeysuckle in the foreground. 
 
 On Canvas. 2 ft. 4^ in. high ; 1 ft. 8 J in. wide. 
 
 Formerly ascribed to Jan Weenix. 
 
 No. 48. LANDSCAPE WITH A SPORTSMAN. A pyramid, 
 a wall, and its base, and a tangle of briars and enormous burdock-leaves ; 
 a skull in the foreground ; amid stones, leaves, and weeds, a man reclines 
 with a dog. 
 
 On Panel. 1 ft. in. high ; 1 ft. 5 in. wide. 
 
 Formerly ascribed to Karel Du Jardin. 
 
 1 By Bern. Genovese, Dom. Zorzano, Goacin Marcasus. 
 
 2 A. van der Willigen, Les Artistes de Harlem, pp. 123, 124. 
 
 3 ‘ A remarkably careful and choice picture by this scholar of A. van Ostade, 
 who approaches nearest to his master in the glow of his colouring.’ 
 
62 
 
 DUTCH SCHOOL. 
 
 No. 68. A SHEPHERD DRIVING COWS ON A ROAD. A 
 shepherd boy drives two cows, one red, the other white, near a wood ; a 
 dog strays in the foreground ; a man on a grey horse is crossing a bridge ; 
 in the background, to the right, a castle ; hills in the distance. Grey, 
 calm sky. 
 
 On Canvas. 3ft. 7 in. high ; 4 ft. Ilf in. wide. 
 
 Formerly ascribed to A. Cuijp, defaced by over-painting. 
 
 No. 70 . A COW. A brown cow trotting, from right to left, turn- 
 ing her head. A tree, dark hedge, and blue distance. 
 
 On Panel. 7f in. high ; 5 in. wide. 
 
 Formerly ascribed to Paul Potter. 
 
 No. 181 . A WOMAN AT THE SPINNING-WHEEL IN A 
 ROOM. To the left, seated, facing the spectator, an old woman spin- 
 ning ; before her, on the ground, a child, with a rattle, offering her a 
 paper ; to the right, kitchen utensils. In the background, a bed. 
 
 On Canvas. 2 ft. high ; 1 ft. 11 in. wide. 
 
 Formerly ascribed to Willem Kalf. 
 
 No. 208. A TOWER AND A HOUSE NEAR A TOWN 
 WALL. To the right, a low wall, with a moat before it ; two houses, 
 and, behind them, a circular tower ; to the left, a road; on it four figures, 
 a cow, sheep, and two dogs ; large trees in the centre ; cloudy sky. 
 
 On Panel. I ft. 7^ in. high; 1 ft. 3f in. wide. 
 
 Formerly ascribed to Wijnants. 
 
 No. 237 . A LADY PURCHASING GAME. The game-dealer 
 sits to the left ; he wears a leather jerkin and a blue-cloth under- coat, 
 leather high boots ; near him lies a hare. The lady wears a yellowish 
 satin dress and a blue bodice ; she looks down at the dealer ; a maid 
 attends her behind ; on the right, a dog looking up at her. The scene 
 is laid in a courtyard. 
 
 On Canvas. 1 ft. 6 in. high ; 1 ft. 2 in. wide. 
 
 Formerly ascribed to Gonzales Coques, a Flemish painter, but the 
 picture certainly belongs to the Dutch School. 
 
 No. 378 . A LIGHT BREEZE. To the left, a pier and a large 
 ship ; to the right, three sailing-boats. Grey sky. 
 
 On Panel. 1 ft. 4 in. high ; 2 ft. 4 in. wide. 
 
Born 1578. Died 1620. 
 
 DAM ELSHAIMER, the son of a tailor, was born 
 at Frankfort in March 1578. Philip Uffenbachwas 
 his first master ; he afterwards went to Rome, where 
 he was in communication with the masters of Rem- 
 brandt, Lastman and Pinas, of Amsterdam. It is said that he 
 had not been fortunate in his career, and that he was imprisoned 
 for debt, but restored to liberty by Count Hendrick van Goudt, 
 his pupil and protector, who engraved some of his compositions. 
 He died in the year 1620. 
 
 His contemporaries, Sandrart 1 and Cornelius de Bie, 2 describe 
 him as an extraordinary artist, who had ‘ a peculiar manner of 
 his own. He was, indeed, the first who invented a style of small 
 sceneries, landscapes, and other curiosities.’ His pictures found 
 at once great recognition. He seems to have been a man of 
 obstinate originality, of a melancholy turn, always serious and 
 thoughtful. Contrary to the grand style of Italian art, he sought 
 the charm of natural simplicity, the more intimate feelings of the 
 realistic world. His pictures are of a very small size, and the 
 minutest details are given therein with more exactitude than in 
 the large historical paintings of the Italians. With it a special 
 significance is given to the effect of light. He had a decided 
 preference for the light of evening. Rembrandt was certainly 
 acquainted with the works of Elshaimer. 3 Amongst his pupils 
 and followers are, his sons, van Goudt, Corne'lis van Poelenburg, 
 David Teniers the elder, Pieter van Laar, Lastman, Pinas, 
 Thomas van Hagelstein, J. Konig, of Niirnberg, Bramer, Uijten- 
 brouck. 
 
 1 Teutsclte Academic, chap, cxxviii. 2 Het Guide ncabinet, pp. 63-67. 
 
 3 Yosmaer, Rembrandt, sa vie et ses oeuvres, pp. 63-67. 
 
6 4 
 
 ELSHAIMER. 
 
 No. 297- SUSANNAH AND THE ELDERS. To the left, a 
 group of three figures : a man standing dressed in the fashion of the 
 time ; an older man sitting near a half-nude woman ; a dark oak-tree 
 behind the group ; to the right, a fountain, formed by dolphins and cupids ; 
 in the background a castle in a park ; evening sky. 
 
 On copper. 9 in. high ; 1 If in. wide. 
 
 An early work of the master, who aimed at giving the scene of the 
 Holy Scripture a romantic appearance. 
 
FLEMISH SCHOOL after 1500. 
 Unknown Artist. 
 
 No. 381 . CHRIST ON THE CROSS, THE MADONNA, ST. 
 J OHN, AND MARY MAGDALENE. In the centre of the foreground, 
 the Cross, with the dead body of Christ on it. Mary Magdalene embraces 
 the foot of the Cross; near it, her ointment- vase and a skull; to the right, 
 St. John; to the left, the Madonna in adoration; both standing. In the 
 background, soldiers retiring, and a view of Jerusalem, with many build- 
 ings in the Flemish style. Dark sky. 
 
 On Panel. 3 ft. 11 in. high ; 2 ft. lOf in. wide ; elliptical top. 
 
 Bequeathed to the Gallery in December 1875, by George Webster, 
 Esq., M.D. 
 
 Painted by an unknown Flemish artist in the style of such masters 
 as Franz Floris and others, who worked in the style of the Italian 
 Renaissance in Flanders. This picture has erroneously been ascribed 
 to Memlinc. It has been much over-painted. 
 
 FRENCH SCHOOL, 17th and 18th centuries.— 
 Unknown Artists. 
 
 No. 375 . A CHILD WITH HIS GUARDIAN ANGEL. In 
 the centre, an angel coming down, and taking the arm of a nude child, 
 which looks towards heaven, to which also the angel points with his 
 right hand. A sea-shore forms the scenery. Blue sky. 
 
 On Canvas, 3 ft. 3£ in. high ; 2 ft. 5^ in. wide. 
 
 Painted in imitation of Guido Reni. 
 
 No. 308. A GIRL WITH A HURDY-GURDY. A whole-length 
 figure, with a galanti-show at her back, playing a hurdy-gurdy and stand- 
 ing at a doorway. Dark background. 
 
 On Panel. 9^ in. high ; 8f in. wide. 
 
 A slight sketch, the colours of deep tones. 
 
 Formerly ascribed to Chardin. 
 
 F 
 
GAINSBOROUGH, R.A.— 
 
 English School. 
 
 Born 1727. Died 1788 
 
 HO MAS GAINSBOROUGH was born in 172 7, at 
 Sudbury, in Suffolk. His father was a clothier, 
 whose circumstances would not admit of his giving 
 his son a classical education. Much of young Gains- 
 borough’s early life was spent in rambling in the woods and 
 lanes around his home, and thus he acquired a love for the 
 beauties of Nature. In his fourteenth year he came to London, 
 and studied successively under Gravelot the engraver, and Frank 
 Hayman the historical painter, and after four years returned to 
 Sudbury. Before he had attained his nineteenth year he married 
 Miss Margaret Burr, a young lady with 200/. a year, and for 
 about twelve years they resided together at Ipswich. In 1759 
 Gainsborough removed to Bath, then the resort of fashion, and 
 remained there until 1774, when he came to London, and took a 
 portion of the house which had formerly belonged to the Duke 
 de Schomberg. He was very greatly patronised by the. King, 
 George III., and in consequence became so popular as to rival 
 Sir Joshua Reynolds. His portraits are very highly valued for 
 their striking resemblance to the originals, but in painting them 
 his manner was very varied. His landscapes are his chief excel- 
 lence, although during his life not sufficiently appreciated, and 
 rarely purchased. Gainsborough was an enthusiast both in 
 painting and music ; and used to say he ‘painted portraits for 
 money, landscapes because he loved them, and was a musician 
 because he could not help it.’ This great painter died of cancer 
 in the neck, at the age of sixty, August 2, 1788, and was buried 
 near his old friend, Joshua Kirby, in Kew Churchyard. He left 
 a wife and two daughters : the elder was married to David Fischer, 
 the musician ; but Gainsborough’s eminently generous and kindly 
 nature towards others prevented him from leaving his family so 
 
GAINSBOROUGH. 
 
 67 
 
 well provided for as, considering the number of his works, might 
 reasonably have been expected. Gainsborough’s style is so 
 peculiar to himself that his works needed no signature. He 
 left fifty-six pictures unsold at the time of his death, and one 
 hundred and forty-eight drawings, which were exhibited at 
 Schomberg House, and sold by auction. Gainsborough was one 
 of the original members of the Royal Academy, a painter of ex- 
 ceeding grace and beauty, and one of England’s greatest masters. 
 
 No. 1. PORTRAITS OF MRS. SHERIDAN AND MRS. 
 TICKELL. Mrs. Tickell sits on a bank, dressed in a yellowish-ochre 
 coloured dress, with sleeves to the elbow, and cut low in front. Her 
 bushy dark hair is dressed out from her head. She looks out from the 
 picture directly at the spectator, with keen, dark, intelligent eyes. She 
 holds a music-book, bent back, in her lap : her right hand is about to 
 turn over a page ; her left holds the edge of the book nearest to her. 
 
 Mrs. Sheridan stands half behind her sister. She is dressed in a 
 blue, or blue-green, silk dress, fashioned like her sister’s, with a black 
 velvet band and buckle around her waist. She leans with her left elbow 
 on the head of a long guitar, or lute; her right hand crosses the other 
 at the wrist, and falls over it. She looks away towards the right, and 
 a little upwards. A copse of hazel-wood is the background ; this becomes 
 a hedge on a bank at the top of a steep slope of meadow, in the middle 
 distance. The bank on which Mrs. Tickell sits has a primrose root, 
 flourishing and blossoming profusely ; on the left, at the feet of Mrs. 
 Sheridan, a mass of violets may be seen, though their colour is much 
 faded. There is a tradition that the music is the score and words of a 
 song of spring, written by Mr. Tickell, the music by T. Linley, which was 
 once celebrated by the wonderful singing of the sisters. 
 
 On Canvas. 6 ft. 5f in. high ; 5 ft. wide. 
 
 Mrs. Jameson says : 1 The head of Mrs. Sheridan is exquisite, and, 
 without having all the beauty which Sir Joshua Reynolds gave her in 
 the famous St. Cecilia, there is even more mind.’ 
 
 These ladies were the daughters of Thomas Linley, whose portrait is 
 No. 358. Respecting this family it may be noted that Thomas Linley 
 was the leading professional musician at Bath in and before 1770, when 
 the great passion at Bath was music. The public concerts were the 
 first in England; and the works of Rauzzini, Jackson, the Linleys, 
 and Dr. Harrington, were produced in a style that bad never yet been 
 equalled. 
 
 Little Eliza Ann Linley, the composer’s eldest daughter, used to 
 stand at the Pump-room door with a basket, selling tickets, while 
 only a girl of nine. She was very lovely, gentle, and good, and her 
 pet name was the 1 Maid of Bath.’ Later she gained a high reputa- 
 tion, not only in Bath, but in Oxford and London, by her singing in 
 the Oratorios and other high-class music, and was a favourite everywhere. 
 
 She was acknowledged to have been a model of personal beauty, and 
 
 F 2 
 
68 
 
 GAINSBOROUGH. 
 
 she was surrounded with admirers. The gossip of the time indicates 
 Halhed, Sheridan’s poetic partner, as one of her lovers. Charles Sheri- 
 dan was certainly another. A miserly Wiltshire squire, Walter Long, 
 also fell in love with her, and would have married her. She refused 
 him ; and he not only resigned himself to his disappointment, but took 
 on himself to be the responsible cause for breaking off the match, and 
 settled 3,000/. on her as an indemnity for the breach of covenant. This 
 incident formed the subject of Foote’s ‘ Maid of Bath, a Comedietta/ 
 played in 1770. Bichard Brinsley Sheridan had silently succeeded in 
 winning her affections ; and he contrived to mystify Halhed, to blind his 
 brother Charles, and to make the man she fancied she loved, a certain roue, 
 Captain Matthews, actually odious in her eyes. He eventually carried 
 her off to Lisle, in France, where they were married in 1772. On his 
 return he fought two duels with Matthews, the details of which are all 
 found in the Lives of Sheridan. 
 
 This lovely girl was the original of Sir Joshua Beynolds’ St. 
 Cecilia. 
 
 Her sister, Maria Linley, soon after married Sheridan's friend, 
 Bichard Tickell, who was a wit, and a man of pleasure of the time ; 
 famous as the author of a satire or squib, called ‘ Anticipation,’ an imagi- 
 nary debate in the House of Commons ; the 4 Epistle of Fox in town to 
 John Townshend ; ’ and other jeux d’ esprit ; also of a very successful comic 
 opera, 4 The Carnival of Venice,’ and an operatic version of ( The Gentle 
 Shepherd.’ He was made a Commissioner of Stamps, chiefly by favour 
 of Brummel, Lord North’s private secretary, and father of the famous 
 ‘Beau.’ He killed himself in 1794, by throwing himself from his win- 
 dow in Hampton Court Palace, where he had apartments. Gainsborough 
 painted a fine portrait of him, now in the possession of Sir Charles Mills, 
 Bart., M.P., and exhibited in the 4 Old Masters,’ at the Boyal Academy 
 in 1875. 
 
 The portraits were painted at Bath, as was the portrait of their hand- 
 some brother William, who was also Sheridan’s partner in the ownership 
 of Drury Lane Theatre. The picture shows him to have had much of 
 his sister’s beauty. 
 
 Sir Joshua Beynolds painted Mrs. Sheridan as St. Cecilia ; it was 
 exhibited in 1775. It remained in Sir Joshua’s possession till 1790, 
 when Sheridan bought it for one hundred and fifty guineas. After his 
 death, it was purchased, at the sale of his effects, by Mr. Burgess, solici- 
 tor, from whom it was bought by the Marquis of Lansdowne for 600/., 
 and now forms one of the most precious ornaments of the Bo wood 
 Gallery. 1 
 
 Gainsborough painted her portrait at full length, which was exhibited 
 at the Boyal Academy in 1783. It is a very beautiful picture, and is 
 now at Delapre Abbey. 
 
 The history of these pictures, in reference to the acquisition by Dul- 
 wich College, is simple. 
 
 The Bev. Ozias T. Linley was elected a Fellow of the College in 
 1816. He was in possession of certain of the pictures now referred to. 
 His brother, William Linley, of Furnival’s Inn Chambers, in a letter 
 
 1 See Life qf Sir Joshua LeynoldSy by C. R. Leslie, R. A., and Tom Taylor* 
 vol. ii. p. 552. 
 
GAINSBOROUGH. 
 
 69 
 
 dated March 27, 1831, intimates his intention of bequeathing his 
 family pictures to the College. In the same document he confirms a 
 gift that his deceased brother, the Fellow of the College mentioned 
 above, made — of Mr. Linley, by Gainsborough; Mr. Samuel Linley, 
 by Gainsborough ; a crayon portrait of Miss Maria Linley, by Sir. T. 
 Lawrence. 
 
 These, and the rest, remained in his possession till his death in the 
 spring of 1831, when they were obtained from his executors by the Trustees 
 of the College Gallery. 
 
 The complete list of his pictures thus acquired is as follows : — 
 
 No. 359. His own Portrait, when a boy, by Sir T. Lawrence. 
 
 No. 358. His Father, 
 
 No. 361. His Brother Samuel, 
 
 No. 362. His Brother Thomas, 
 
 No. 1. His Sisters, Mrs. Sheridan and Mrs.Tickell, 
 
 } by Gains- 
 borough. 
 
 No. 360. 
 No. 357. 
 
 }by 
 
 Oliver. 
 
 His Mother, 
 
 His Brother, Bev. Ozias T. Linley, 
 
 His Mother, a second Portrait, by Lonsdale. 
 
 A crayon portrait of Mrs. Ward, "1 by 
 
 A crayon portrait of Mrs. Tickell, > Sir Thoma s 
 
 A crayon portrait of Bev. Ozias T. Linley, J Lawrence . 
 
 His Sister, Mrs. Tickell, when a child, by Ozias 
 Humphreys. 
 
 In compliance with a request made through her solicitor, Mr. Henry 
 C. Chilton, by Miss Tickell, only daughter of the subject of the portrait, 
 the last-mentioned picture was given up to her by the Trustees, by a 
 minute dated May 29, 1835. The pictures numbered are in the Gallery, 
 the rest are in the College. 
 
 No. 111. POBTBAIT OF P. J. HE LOUTHEBBOUBG, Esq., 
 B.A. The figure leans with both elbows on a drawing, which lies flat 
 on the table ; his right hand is tucked into his waistcoat ; his white 
 cravat covers it ; the left is under the right ; he wears a brown coat and 
 gold-coloured satin waistcoat. The face is grey, well formed, and aristo- 
 cratic, earnestly looking forward, with a steady, quiet expression, toward 
 the left. 
 
 See biographical notice of this painter, p. 93. 
 
 On Canvas. 2 ft. 5f in. high ; 2 ft. wide. 
 
 No. 358. POBTBAIT OF THOMAS LINLEY, Esq. A man 
 in a sand-coloured coat and grey powdered wig, brushed straight up ; 
 white cravat. He holds a sheet of music in his left hand, which is placed 
 across the breast. He was bom in 1730. He was a manager of Drury 
 Lane in conjunction with Sheridan, his son-in-law. Among his numerous 
 and charming productions his ballads are pre-eminent ; he also wrote the 
 accompaniments to the airs in the ‘ Beggar’s Opera.’ 
 
 On Canvas. 2 ft. in high ; 2 ft. % in. wide. 
 
 No. 361. POBTBAIT OF SAMUEL LINLEY, Esq., B.N. A 
 three-quarter face of a young man, in powdered dark hair, black tie to 
 
70 
 
 GA INSBOR 0 UGH— GENNA RI. 
 
 his neck, and pigtail, white shirt-front, and blue coat; a fine earnest face,. 
 There is a tradition that this head was painted in forty-eight minutes. 
 
 On Canvas. 2 ft. 5 in. high ; 2 ft. wide. 
 
 No. 362. PORTRAIT OF THOMAS LINLEY, Esq. Three- 
 quarter of a young pale-faced man, dressed in a red coat, white neck- 
 tie; black cocked hat under his arm. He was born in 1756, and gave 
 promise of attaining great celebrity as a musician, but was accidentally 
 drowned in 1788. 
 
 On Canvas. 2 ft. 5^ in. high ; 2 ft. ^ in. wide. 
 
 No. 366. PORTRAIT OF MRS. MOODEY AND HER CHIL- 
 DREN. The lady walks towards the spectator, in a low-cut dress, of 
 satin, with a long blue silk jacket, or pelisse, and a gauze veil, fastened at 
 her breast, which floats behind her left shoulder. Her hair is dressed 
 high, and powdered. She looks towards the left ; her face is thus seen 
 in slight three-quarter. She holds a child on her right arm, and leads 
 another with her left hand. The children are bare-headed, and wear 
 pink sashes over white muslin dresses, and have red boots. A tree 
 landscape comes rather close to the figure and the edge of the picture on 
 the left ; on the right, a glade or stretch of meadow land runs into the 
 picture, with a clump of trees, and a grey distance. The sky is grey and 
 cloudy ; large wild plants make up the foreground. 
 
 This beautiful picture was presented by Captain Moodey. 
 
 On Canvas. 7 ft. 7|- in. high: 4 ft. 11^ in. wide. 
 
 GENNARL — Bolognese School. 
 
 Born 1633 . Died 1715. 
 
 ENEDETTO GENNARI, born at Cento, near Bo- 
 logna, October 19, 1633, was a nephew and pupil of 
 Guercino. His father, Ercole Gennari, was also a 
 painter. In the year 1672 he went to Paris, where 
 he obtained employment from Louis XJV. ; in 1674 he came to 
 England ; Charles II. and James II. employed him, the latter 
 especially for altar-pieces in Roman Catholic chapels. He 
 afterwards returned to Italy and lived at Cento and Forli. 
 Gennari died December 9, 1715, at Bologna. 1 He was the 
 cleverest imitator of Guercino. Most of his works are to be 
 found in the picture-gallery at Cento. Besides altar-pieces, he 
 also painted portraits. 
 
 No. 324. ST. CECILIA. The Saint, standing and turned to the 
 left, plays on an organ. She wears a reddish dress, covered by a yellow 
 
 1 Lanzi, Storia , vol. v. 130. Walpole, Anecdotes of Painting, 
 
GENNAR1— GERMAN SCHOOL. 
 
 7 1 
 
 cloak, with blue lining, fastened by a jewel at the throat. She is looking 
 down; a nimbus around her head. Three-quarter length figure, life- 
 size ; dark background. 
 
 On Canvas. 3 ft. 11 in. high ; 3 ft. in. wide. 
 
 Engraved by R. Cockburn. 
 
 Formerly attributed to Guercino, Gennari’s master. The treatment 
 of melting lights and shadows is in the style adopted by this pupil; 
 Guercino liked to put them in strong contrasts. (Compare No. 348.) 
 
 GERMAN SCHOOL. 
 
 Unknown Artist after 1500. 
 
 No. 353 . PORTRAIT OF AN OLD MAN. A half-length 
 figure, small life-size, full face, black cap with ear-pieces, fur-lined black 
 gown, deep black collar and white ruff; close-clipped grey beard and 
 moustache ; a book in the right hand, his left placed across both. Dark 
 brown background. 
 
 On Panel. 1 ft. 9 in. high ; 1 ft. 3^ in wide. 
 
 Desenfans’ Catalogue, No. 73. 
 
 Painted under the influence of Hans Holbein (born at Augsburg in 
 1497, died at London in 1543), to whom the picture was formerly attri- 
 buted, though neither in drawing nor in colouring equal to that master’s 
 genuine works. 
 
 Unknown Artist about 1600. 
 
 No. 288 . CHRIST AS A BOY BEARING THE EMBLEMS 
 OF THE PASSION. Christ, represented as about ten years of age, 
 advances to the left, dressed in a long purple coat and red mantle. He 
 carries the cross, spear, and reed with the sponge ; in his left hand is 
 a basket with linen, cords, dice, and nails. The face is looking down. 
 A nimbus of golden rays around the head. The floor strewn with 
 flowers. Dark background. 
 
 On Panel. 5f in. high ; in wide. 
 
 Formerly attributed to Carlo Dolci. The general conception is quite 
 in the style of the Northern Schools; the picture clearly shows in its 
 minute execution the influence of Elshaimer. 
 
72 
 
 GRIMO U— G UERCINO. 
 
 GRIMOU.— French School. 
 
 Born about 1680. Died about 1740. 
 
 LEXIS GRIMOU (GRIMOUX, or GRIMOUD) was 
 born at Romont, near Fribourg, in Switzerland, about 
 the year 1680. He was a son of one of the Swiss 
 Guards at the French Court, and learned painting by 
 copying van Dijck and Rembrandt’s pictures, until he acquired 
 an independent position. In his youth he led a licentious life. 
 In 1705 he was made at Paris a member of the Royal Academy, 
 but was expelled from it four years afterwards, and then entered 
 the Academy of St. Luke. He died at Paris about the year 1740. 
 Grimou was principally a portrait-painter, but he also painted 
 family scenes. He aimed at colourist tendencies, and succeeded 
 well in giving to his pictures a peculiar chiaroscuro ; they were 
 much appreciated and sought after during his lifetime. 
 
 No. 123. PORTRAIT OF A LADY. Bust of a lady turned to 
 the right, the face seen in full, hands not visible, brown dress, white ruff, 
 greenish background. Small life-size figure. Signed 
 
 9 n mv u* 
 
 On Canvas. 2 ft. high ; 1 ft. 8 in. wide. 
 
 Spirited in conception ; sketch-like execution. 
 
 GUERCINO.— Bolognese School. 
 
 Born 1591. Died 1666. 
 
 IOVANNI FRANCESCO BARBIERI, called HI 
 Guercino ’ (the squint-eyed), was born at Cento (a 
 small town in the province of Bologna), Feb. 2, 
 1591. His masters were Bart. Bertozzi, Paolo Za- 
 gnoni, Cremonini, B. Gennari, all unimportant painters. He soon 
 reached his artistic maturity and worked for the churches of his 
 native place and its environs. From 1615 to 1617 he was at 
 
GUERCINO. 
 
 73 
 
 Bologna; in the year 1618 he visited Venice, where he became 
 acquainted with Palma Giovane (1544-1628). In the year 1620 
 he painted at Ferrara for the Cardinal Jacopo Serra, and received 
 through him the title of Cavaliere (Knight). In the following 
 year he was summoned to Rome by the Cardinal Alessandro 
 Ludovisi, who was Pope under the name of Gregory XV. (1621- 
 1623), but returned to Cento after the Pope’s death. King 
 James I. of England, and Louis XIII. of France, invited him 
 vainly to their Courts, as he preferred to stay in Italy. He 
 worked at Reggio in 1624, at Piacenza in 1626, and finally 
 settled in Bologna in 1642. He died December 22, 1666. 
 
 Guercino, though not a scholar of the Carracci, seems to 
 have been influenced by their principles, as his figures are of a 
 calm, statuesque pose. But in colouring he appears rather to 
 have taken the realism of Caravaggio for his model. It is 
 forcible and often harmonised in violet tones with strong lights 
 and deep shadows. The light which enters in his pictures, 
 mostly from above, has an effect more artificial than natural. 
 He bestowed particular care on the roundness of the human 
 forms. His compositions are clever, but wanting in sentiment 
 and enthusiasm. 
 
 Xo. 348. THE WOMAN TAKEN IN ADULTERY. To the 
 right, an old Jew in a brown coat, the accuser, demonstrating on his 
 fingers. Opposite him the Saviour, pointing towards the woman, who 
 stands to the left, seen in profile : she is held by a soldier. St. Peter looking 
 over her neck at Christ. A wall in the background, and blue sky to the 
 right. The figures are half-length, life-size. 
 
 On Canvas. 3 ft. If in. high; 3 ft. 11 in. wide. 
 
 A fine and very characteristic work of the master, highly finished and 
 painted with much care. 
 
VAN DER HEIJDE. — Dutch School. 
 
 Born 1637. Died 1712. 
 
 AN VAN DER HEIJDE was born at Gorcum in 
 1637. His first master was a painter on glass. His 
 artistic talents were very soon appreciated, especially \ 
 at the time when he settled at Amsterdam. He I 
 visited England, Belgium, and the Rhenish provinces. 1 Besides A 
 painting, he occupied himself also with mechanics, and organised 
 at Amsterdam the lighting of the streets, and made also 
 important discoveries for the construction of fire-engines, for 
 which he received a patent, and in 1672 was appointed inspector- 
 general of the Fire Company. In 1690 he published, with his 
 son, Jan van der Heijde, a book with illustrations, 2 treating the 
 subject of extinguishing fires. He died at Amsterdam Septem- 
 ber 28, 1712. 
 
 Jan van der Heijde generally painted views of buildings in : 
 streets, near canals and public places, &c. Especially in archi- ! 
 tecture, he renders the smallest details with the greatest exacti- 
 tude ; even brickwork is most accurately drawn, and he may be 
 compared in this respect with G. Dou. Although somewhat 
 anxious, his execution is certainly not dry, but, on the contrary, 
 harmonious in the general effect. Adriaen van de Velde (died 
 1672), and, later on, Eglon van der Neer (died 1703), painted 
 the figures in his pictures. 3 
 
 No. 190 . VIEW OF TWO CHURCHES AND A TOWN; 
 WALL. In the foreground, to the left, a large tree, beneath which a 
 woman is seated ; behind her, a wall ; to the right, near a basin, a road, 
 
 1 The picture by van der Heijde, No. 886 in the National Gallery, and another 
 in Sir Richard Wallace’s Collection, represent views of the Cathedral at Cologne. 
 
 2 Beschrijving der Stangbra ndsgpuite n bn hare tvijze van Brandblussing. 
 
 3 There is a picture in the Marquis of Bute’s Collection representing a view of 
 a town with a canal, in the execution of which Willem van de Yelde had helped 
 van der Heijde. 
 
VAN HERP—HOBEBMA. 
 
 7 $ 
 
 vvith persons walking about ; in the background, two churches of the 
 Renaissance style. Blue sky with clouds. Signed 
 
 \hityde 
 
 On Panel. lOf in. high ; 1 ft. 1 in. wide. 
 
 The great charm of this picture lies chiefly in the unequalled accu- 
 racy of its execution, and in the harmonious tone which envelops the 
 whole scene. The figures are painted by Adriaen van de Yelde. 
 
 VAN HERR— Flemish School. 
 
 Born about 1604. Died (?). 
 
 ERARD VAN HERP, or VAN HARP, * 1 from Ant- 
 werp, born about the year 1604, is supposed to have 
 been a scholar of Rubens. There is absolutely 
 nothing known of the circumstances of his life. 
 
 } His pictures are generally of small size, and mostly repre- 
 r ;ent the life of country people in the interior of their houses. 
 .He occasionally painted religious subjects. 
 
 , No. 6. FIGURES WITH SHEEP AT A WELL. To the right, 
 1 woman with a basket of apples ; near her, a girl asking for fruit ; a boy 
 ' liding himself behind her and eating an apple ; before him a dog. To 
 he left, a well, two peasants, sheep, goats, and a cow. Further off, a 
 ji :ottage and a flat landscape in the distance ; cloudy sky. 
 
 On Panel. 1 ft. 10^ in high ; 2 ft. in. wide. 
 
 Probably an early work of the master, without brilliancy in the 
 ‘ :olouring, but careful in execution, 
 e Engraved by R. Cockburn. 
 
 HOBBEMA.— Dutch School. 
 
 Born 1638. Died 1709. 
 
 EINDERT HOBBEMA was born at Amsterdam in 
 1638. He there married Eltje Vinck in 1668. 2 
 He lived mostly at Amsterdam, probably also at 
 Harlem ; he died in the former city December 1709. 
 
 i 1 The Christian name of this artist is said to be unknown. Nagler and 
 Vaagen call him Gerard, although no painter of this name is mentioned in the 
 luild-Book of Antwerp. There is, however, a picture in the Marquis of Bute’s 
 I 'ollection representing a repast which is signed G. v. Herp. So that it is possible 
 
 I hat his Christian name really was Gerard. 
 
 J 2 Scheltema, Avistels Oudheit , 1863, v., and W. Bode in von Lutzow’s Zeit* 
 j olbrift fur Bild. Kunst , vii. 277. 
 
 I 
 
76 HOBBEMA. 
 
 His talents seem to have been developed at a very earl 
 age; 1 it has been conjectured that Salomon van Ruijsdael wd 
 his master. 2 However this may be, there can be no doubt as t 
 his intimacy with Jacob van Ruisdael, who acted as a witnej 
 at his wedding ; a remarkable affinity has also been noticed i 
 some of the works of these two painters. 3 Whether Hobbema c | 
 Jacob van Ruisdael was the greatest Dutch landscape-painter ( 
 still a matter of controversy. The merits of Hobbema were firtj { 
 appreciated in England, where now nine-tenths of his picture 
 are to be found. They are mostly sunny landscapes with simpl c 
 motives, as water-mills, and wood-paths, which possess an ui i 
 equalled charm by their broad warm light and their mysteriou] c 
 atmosphere, expressed with an admirable impasto. The figure v 
 in his pictures were painted by renowned masters of Amsterdai 
 and Harlem : Adriaen van de Velde, Philip and Pieter Woi a 
 werman, Berchem, Lingelbach, Storck, Helstockade, B. Gae t 
 Helmbreker. Those figures which he painted himself are gene 
 rally inferior. 
 
 No. 131 . WOODY LANDSCAPE WITH A LARGE WATEI 
 MILL. In the foreground, to the left, a large oak, bushes, and seve 
 figures. To the right, a broad river, over which is built a mill ; bey on 
 the water to the right, a farm, trees, and some figures. Cloudy sky. 
 
 Signed 
 
 1 Mbe mu. 
 
 On Panel. 1 ft. 11| in high ; 2 ft. 8f in wide. 
 
 Engraved by R. Cockburn. 
 
 Smith's Catalogue, No. 123, where it is valued at 500Z. 
 
 Brilliant effect of light beyond the river ; the shadowy parts in th I 
 foreground have unfortunately become dark. An important work of th ; 
 master. The figures in the foreground have been painted by an artisi 
 whose manner is unknown, but those in the back, which he painte 
 himself, harmonise well with the landscape. 
 
 1 There is a drawing in the Print Room at Berlin signed and dated Mijndeii 
 Hobbema, 1651. 
 
 2 This is a supposition of Dr. Waagen’s. 
 
 3 Hobbema’s picture, ‘ A Castle in a Rocky Landscape ’ (No. 996 in th 
 National Gallery, Wynn Ellis Gift), shows the influence of J. van. Ruisdael, whilf 
 J. van. Ruisdael’s picture, ‘The Water-mills,’ No. 986 in the National Gallery, r< 
 calls Hobbema. 
 
VAN HUIJSUM. 
 
 77 
 
 VAN HUIJSUM.— Dutch School. 
 
 Born 1682. Died 1749. 
 
 AN VAN HUIJSUM was born at Amsterdam,, 
 April 15, 1682. He was the scholar of his father, 
 Justus van Huijsum. His three brothers were also 
 painters : Justus, a battle-painter ; Jacob chiefly 
 copied, at London, works of his brother Jan ; and Michael, a 
 teacher in drawing, painted flowers and fruit. Jan was the most 
 celebrated amongst them : he resided all his life at Amsterdam, 
 where he died on February 7, 1749. 
 
 Jan van Huijsum distinguished himself as a painter of flowers 
 and fruit : he sometimes also painted landscapes. Even in his 
 lifetime his pictures were much appreciated, and fetched high 
 prices. He is the greatest flower-painter with regard to exact 
 rendering of the smallest detail, being only surpassed by Jan 
 Davidsz de Heem (1600-1684) in the fulness of colouring and 
 the fineness of the chiaroscuro. 
 
 No. 121. A VASE WITH FLO WEBS. A vase decorated with 
 igures is placed on a grey slab, and contains a large overblown tulip, 
 ;uberoses, double stocks, roses, auriculas, hollyhock, a bird’s nest with 
 'obin’s eggs. Signed 
 
 On Canvas. 2 ft. 8 in. high ; 1 ft. Ill in. wide. 
 
 Uncommonly broad in execution, of a vaporous tone. 
 
 Mentioned by Waagen. 1 
 
 No. 140. A VASE WITH FLOWEBS. A group of flowers 
 ormed in a vase and placed on a marble slab. It is composed of tulips,. 
 
 Treasures of Art, vol. ii. p. 345. 
 
7 « 
 
 VAN HU I J SUM. 
 
 roses, French marigolds, poppies, auriculas, salvias, orange-blossom, 
 forget-me-not, London pride, iris, larkspur, veronica, flax, and convol- 
 vulus minor; a bird’s nest with hedge-sparrow’s eggs in it, and one 
 cuckoo’s egg ; insects on the leaves and dewdrops; blue- grey background 
 Signed 
 
 On Panel. 2 ft. in. high; 1 ft. 11^ in. wide. 
 
 Highly finished in a cool harmonious tone. 
 
 Smith’s Catalogue, No. 107 (?) There valued at 300 guineas. 
 
 The two following pictures by this artist, although signed, are in 
 every respect far inferior to the above specimens : — 
 
 No. 39. FLOWERS. A small Delft vase on a marble slab holds 
 some pink roses, piccotees, marigold, and orange-flowers; butterflies 
 about, and a snail on the pedestal ; light brown background. Signed 
 
 On Panel. 1 ft. 3£ in. high ; 1 ft. in. wide. 
 
 No. 29. FRUIT. A blue Delft bowl stands on a red marble slab 
 and contains peaches, nectarines, grapes, raspberries, which fall over the 
 side ; a cracked nut on the slab ; light brown background. Signed 
 
 On Panel. 1 ft. 3£ in. high ; 1 f t. \ in. wide. 
 
 These two small companion pictures were formerly in the Braam 
 camp Collection. Desenfans’ Catalogue, No. 137. Smith’s Catalogue 
 Nos. 23 and 24. Mentioned by Waagen 1 and by J. A. Crowe. 2 
 
 1 Treasures of Art, vol. ii. p. 345. 
 
 2 J. A. Crowe, Handbook of Painting , German , Flemish , and Dutch School 
 Part ii. chap. ii. p. 549. 
 
 tl 
 
 fi 
 
ITALIAN SCHOOL.— Unknown Artists. * 
 
 No. 31. A CASTLE WITH A WATERFALL. In the fore- 
 ground on the right a rocky bank with a castle ; a stream rushes out 
 from under a wall ; trees grow in the river’s gorge. In the distance, to 
 the left, a village on a hill ; two figures in the foreground ; evening 
 sky. 
 
 On Canvas. 1 ft. 6 in high ; 1 ft. 1^ in. wide. 
 
 Painted by an unknown Italian master at the time of Claude le 
 Lorrain; formerly, without sufficient reason, ascribed to Guillaume Cour- 
 tois, or Cortese (born at Saint-Hippolyte, in the Franche- Comte, in 
 France, in 1621 ; died at Rome in 1679), who was an imitator of Jean 
 Courtois, the celebrated painter of battle-scenes. 
 
 No. 43. LANDSCAPE WITH AN AQUEDUCT. In the 
 foreground a steep grey rock ; before it a doorway, and a footpath with 
 three figures on it. To the right, in the background, an aqueduct and a 
 mountain ; clear sky, with clouds. 
 
 On Canvas. 1 ft. 6 in. high ; 1 ft. f in. wide. 
 
 Probably a companion picture to No. 31. A superior specimen by 
 the same unknown artist. 
 
 No. 07. PORTRAIT OF A YOUNG LADY. Bust turned to 
 the right, white bodice, with a black jacket over it, white ruff, black hair, 
 a handkerchief in her right hand, the left not visible ; grey background. 
 
 On Canvas. 1 ft. 9| in. high ; 1 ft. 7 in. wide. 
 
 Formerly ascribed to the School of Agostino Carracci, but most pro- 
 bably painted in the School of Susterman (1506-1560), a Flemish artist 
 who lived at Florence, where he worked as a portrait-painter. • 
 
 No. 81. INFANT ST. JOHN. The child lies on the ground, on 
 a red mantle. A brook in front. The lamb stands to the left. Moun- 
 tains and a town in the distance. 
 
 On Canvas. 1 ft. 10^ in. high ; 2 ft. 6f in wide. 
 
 Formerly ascribed to Titian. It is the work of an unknown artist 
 of the seventeenth century. 
 
So 
 
 ITALIAN SCHOOL. 
 
 No. 161. A ROMAN EMPEROR REWARDING HIS 
 SOLDIERS. To the right, the Emperor seated on a raised seat (tribunal), 
 distributing a golden-leaved wreath to soldiers standing before him, with 
 standards and a banner. To the left, near the front, two prisoners, a 
 woman and a man, seated on the ground, amidst a quantity of spoil ; in 
 the background, a circular temple, two philosophers with table of laws ; 
 blue sky, with a few clouds. 
 
 On Canvas. 2 feet Ilf in. high ; 2 ft. wide. 
 
 Painted in imitation of one of the antique reliefs on the triumphal 
 arch of Constantine, at Rome, where the features of the Emperor are ' 
 those of Trajan. The head of the Emperor represented in this picture i 
 has no resemblance to that of Vespasian, as has formerly been stated, j 
 nor, indeed, to any of the other Roman Emperors ; the portrait is, 
 therefore, no doubt, an arbitrary one. 
 
 Formerly ascribed to Sebastiano Ricci, a Venetian artist (1662-1734) ; 
 also to Pietro Berrettini da Cortona. 
 
 No. 164. ST. LAURENCE IN ADORATION. The Saint 
 kneeling in front, with upturned face. He is clad in deacon’s vestments, j 
 with a palm-branch in his right hand ; his left holds his gridiron. Dark 
 background. 
 
 On Canvas. 1 ft. 2f in. high ; Ilf in. wide. 
 
 Sketchy in execution. Formerly attributed to Pietro Berrettini da 
 Cortona. 
 
 No. 219. VIEW OF THE CAMPO VACCINO (FORUM 
 ROMANUM) AT ROME. To the right, in the foreground, three 
 columns of the Temple of V espasian, with a copy of its antique Latin 
 inscription : ‘ (Divo Vespasiano Augusto) senatvs POPVLVSQ(ue Romanus, 
 etc.) INCENDIO CONSUMP(tum).’ 1 
 
 Below, in the distance, the three columns of the ruined Temple of ; 
 Castor and Pollux ; and beyond them, the Church of Santa Maria Libera- j 
 trice ; close to it, the Farnesini Cardens, on the Monte Palatino. On 
 the left, in the foreground, the triumphal arch of Septimius Severus, with 
 part of its dedicatory inscription, a.d. 202, with the text inexactly re- 
 produced. 2 
 
 Beyond the arch, the Tower of Nero, called also Torre delle Milizie ; 
 
 1 i To the Emperor Vespasian Augustus, dedicated by the Roman Senate and 
 People .... destroyed by fire.’ 
 
 2 The following is the text of the inscription on the monument at Rome : 
 
 IMP . CAES . LVCIO . SEPTIMIO . M. FIL . SEVEEO . PIO . PERTINACI. 
 
 AVG . PATRI . PATRIAE . PAPTHICO . ARABICO . ET. 
 
 PARTHICO . ADIABENICO . PONTIFIC . MAXIMO . TRIBVNIC . POTEST. 
 
 XI. . IMP . XI. . COS . Ill . PROCOS . ET. 
 
 IMP . CAES . M . AVRELIO . L . FIL . ANT OXIXO . AVG . PIO. 
 
 FELICI . TRIBVNIC . POTEST . VL . COS . PROCOS . P.P. 
 
 OPTIMIS . FORTISSIMISQVE . PRINCIPIBVS 
 OB . REM . PVBLICAM . RESTITVTAM . IMPERIVMQUE . POPVLI 
 ROMAXI . PROPAGATVM 
 
 INSIGNIBVS . VIRTVTIBVS . EORVM . DOMI . FORISQVE . S. . P. . Q. R- 
 
 # 
 
ITALIAN SCHOOL . 
 
 81 
 
 to the right of the archway, the columns of the Templum T. Antonini et 
 Faustina, into which is built the Church of S. Lorenzo in Miranda ; above 
 it, an arch belonging to Constantine’s basilica; further on, the small 
 Church of SS. Cosma e Damiano; and behind it, the rococo fagade 
 of the Church Santa Francesca Romana, with the church tower to the 
 left and the cloister to the right, into which is built the triumphal arch 
 of Titus standing in the centre of the picture. In the background, the 
 upper parts of the Colosseum and the Albanian mountains. Numerous 
 figures on the Forum. 
 
 On Canvas. 2 ft. in. high ; 3 ft. 5£ in. wide. 
 
 Formerly ascribed to Claude le Lorrain. 
 
 The special interest of this picture is that it gives an exact aspect of 
 the Forum Romanum during the seventeenth and preceding century. 
 
 No. 225. HEAD OF AN OLD MAN. Turned to the left ; grey 
 hail’ in disorder ; the left hand on his beard, which is also grey ; brown 
 jacket ; dark background. 
 
 On Canvas. 1 ft. 2f in. high ; lOf in. wide. 
 
 Roughly painted. Formerly ascribed to Salvator Rosa. 
 
 No. 226. VENUS GATHERING APPLES IN THE GARDEN 
 OF THE HESPERIDES. Venus, undraped and turned to the right, 
 stands before a tree to the right, gathering apples; behind her Amor 
 holding up a blue cloth. A palace, trees, and a fountain in the back- 
 ground. Cloudy sky. 
 
 On Canvas. 1 ft. 6| in. high ; 1 ft. 2 \ in. wide. 
 
 Formerly ascribed to Domenichino, but different in style from the 
 genuine works of this master. 
 
 No. 246. BUST OF ST. JEROME. The head turned to the 
 left, and seen in profile ; the hands clasped and holding a cross ; red 
 mantle ; blue sky in the back. 
 
 On Copper. An ellipse. 3 in. high ; 2 in. wide. 
 
 Formerly ascribed to Guido Reni, but inferior to this master’s pic- 
 tures, especially in its design. 
 
 No. 261. THE MARTYRDOM OF ST. SEBASTIAN. The 
 Saint stands in front bound to a tree, the head turned upwards ; to the 
 I right a river ; to the left, the armour and the mantle of the Saint, 
 
 1 indicating his having been a Roman soldier ; clear evening sky. 
 
 On Canvas. 2 ft. If in. high ; 1 ft. 6f wide. 
 
 Formerly ascribed to Mola. 
 
 No. 267. ST. JEROME KNEELING IN PRAYER. The 
 i Saint kneels before a rocky bank, turned to the right. He wears a red 
 
 G 
 
82 
 
 ITALIAN SCHOOL. 
 
 mantle. An open book and a crucifix are before him on the rock, on 
 which his arms rest. A rock and bushes in the background. 
 
 On Copper. 7f in. high ; in. wide. 
 
 Previously ascribed to Guido Reni. 
 
 No. 298. CUPID ON A BED. Cupid, with fair hair, lying on 
 a bed ; his head bent forwards ; his wings in the air ; curtains on both 
 sides ; his feet not visible. 
 
 On Canvas. 8 in. high ; 8|- in wide. 
 
 Formerly ascribed to Schedone, but certainly painted by a later artist. 
 The pink light tints recall the influence of Federico Baroccio. 
 
 No. 303. A ROMAN LANDSCAPE, WITH MERCURY. A 
 tree in the centre, with three cows under it ; to the left, Mercury with 
 his winged hat ( petasus ) sitting on a bank near a man in a red mantle. 
 To the right, close to a river, are ruined temples ; mountains in the dis- 
 tance ; blue sky with clouds. 
 
 On Panel. 1 ft. in. high ; 1 ft. If in. wide. 
 
 Formerly ascribed to Claude le Lorrain, with whose style it has very 
 little in common. 
 
 No. 314. FIGURES IN CONVERSATION ON THE BANK | 
 OF A RIVER. To the left a tower-like building ; in front of it various 
 groups of figures ; to the right, a river, with two boats ; a hill beyond ; 
 buildings in the background ; grey sky. 
 
 On Canvas. 3 ft. 5^ in. high ; 4 ft. 9f in. wide. 
 
 This composition is rendered attractive by its colour, but is inaccurate 
 in design. 
 
 The circular building in the background recalls the Church of S. 
 Stefano Rotondo, at Rome. Formerly ascribed to Bril (Paulus Bril, of 
 Antwerp, 1556-1626); the figures to An. Carracci. 
 
 No. 320. GATHERING GRAPES, NEAR A TRIUMPHAL 
 ARCH. To the right a large Roman arch, with reliefs ; before it trees, 
 covered with vines ; close to it some figures, gathering grapes ; to the 
 left, a river; behind it, hills with towers. Evening sky. 
 
 On Canvas. 1 ft. 7j in. high ; 2 ft. $ in. wide. 
 
 Formerly ascribed to Herman Swanevelt. 
 
 No. 322. HEAD OF ST. FRANCIS. A bust, seen in front; 
 the face turned upwards ; grey habit ; hands not visible. Dark back- 
 ground. 
 
 On Canvas. 1 ft. 7f in. high; 1 ft 3 in. wide 
 
 Formerly ascribed to An. Carracci. 
 
JANSSENS.— Dutch School. 
 
 Born 1590 . Died 1662-4. 
 
 S ORNELIS JANSSENS (JANSON, or JONSON) 
 VAN CEULEN, 1 was born at Amsterdam in the 
 year 1590. 2 He came to the Court of James I. of 
 England in 1618, where he worked as a portrait- 
 painter. He lived in Blackfriars, but between the years 1630 and 
 1641 he lived much in Kent. When van Dijck came to settle in 
 England (1632), Janson imitated his style, and even rivalled 
 him. They must have been friends, as Janson painted van 
 Dijck’s portrait. 3 Janson quitted England when the Civil War 
 broke out, towards the end of the year 1648. 4 He first retired to 
 Middelburg in Holland, and afterwards to Amsterdam, where 
 he continued to paint, and died between the years 1662 and 
 1664, probably at Utrecht. 5 His wife’s name was Elisabeth 
 Beck. She died at Utrecht in 1664. 
 
 His pictures are easily distinguished by their clearness, neat- 
 ness, and smoothness. In conception they are somewhat stiff, 
 but remarkable for the lively tranquillity of the countenances. 
 
 No. 122. PORTRAIT OF A LADY. Turned to the right, three- 
 quarter in profile, low white silk dress, brown curly hair, blue eyes; 
 pearl earrings and necklace. A bust down to the waist ; small life-size. 
 The hands not visible ; dark-grey background. 
 
 On Canvas. 2 ft. 4^ in, high ; 1 ft. 8§ in. wide. 
 
 1 In Holland the name is pronounced Janssens, but in England exclusively 
 Janson and Jonson. 
 
 2 According to Walpole, Anecdotes of Painting. But Sandrart, Teutselie 
 Academic, states that he was born in London of parents who came from the 
 Spanish Netherlands. 
 
 3 Gerard Hoet, Catalogues, 1760, No. 137. 
 
 4 His pass, dated October 10, 1648, is recorded in the Journals of the House of 
 Commons. 
 
 5 Kramm, Be Levens en Werketi, p. 798. 
 
8 4 
 
 JA NS SENS — JORDA ENS. 
 
 Formerly ascribed to Antonius van Dijck ; the picture, however^ 
 clearly shows the manner of C. Janssens. 
 
 No. 134. PORTRAIT OF A LADY. Turned to the right, the 
 head to the left, seen nearly full face ; bust, small life-size. The hands 
 not visible ; brown hair, light curls, blue eyes, pearl necklace and ear- 
 rings; low blue satin bodice, with under-sleeves of golden coloured jewels^ 
 brown silk scarf on the right arm, dark amber-coloured background. 
 
 On Canvas. 2 ft. 6 in. high ; 2 ft. 1 in. wide. 
 
 Formerly ascribed to A. van Dijck. 
 
 JORDAENS.— Flemish School. 
 
 Born 1593 . Died 1678 . 
 
 COB JORDAENS, born at Antwerp, May 19 , 1593 , 
 was the eldest of the eleven children of Jacob Jor- 
 daens, a mercer, and of Barbara van Wolschatem 
 In 1607 he entered the studio of Adam van Noort ;; 
 according to the Liggere 1 (Guild-Book) he was made a free master 
 in 1615, and married, a year after, Catherine van Noort, daughter 
 of his master. In 1641 he built himself a mansion, similar to 
 that of Rubens, and decorated it with numerous pictures, painted 
 by himself. In his old age, Jordaens joined the Reformed 
 Church, and became a zealous Protestant. 2 He died Oct. 18 ,. 
 1678, and was buried at Putte, a village on the Dutch frontier. 3 
 
 J. Jordaens is, after Rubens and van Dijck, the greatest 
 Flemish artist ; he was influenced by Rubens, and often equalled 
 him in his colouring and execution, but was neither his pupil 
 nor his imitator. He represented religious, historical, and 
 flnythological scenes, also fantastic subjects, in the style of genre 
 painters, seldom portraits. His conception is lively, his repre- 
 sentation somewhat trivial and coarse, it is true, but powerful, 
 humorous, and unrestrained ; always natural, and healthy in 
 its sensuality. His figures are not only painted, but are really 
 conceived in colossal proportions, with a certain grandeur. He 
 
 1 J. Jordaens is here called a ‘ Waterschilder ’ (painter in water-colours). 
 
 2 In the registers of Ihe Protestant Church Olyfberg (Mount of Olives), it i» ! 
 mentioned that he took the holy communion therein 1671,* and that his co-re- I 
 ligionists took it in his house repeatedly in the years 1674, 1676, 1677, and 1678. j, 
 
 * His wife had already been buried there in the year 1666. 
 
JORDAENS. 
 
 85 
 
 painted for the King of Sweden, and the Court at the Hague , 1 
 and his works were very much sought-after during his lifetime. 
 A. van Dijck painted his portrait . 2 
 
 No. 162 . A SHEPHERD AND SHEPHERDESS. In the 
 foreground a shepherdess: yellow silk dress, long fair hair, sitting in 
 front ; to the left near her, a shepherd trying to kiss her ; an ivy wreath on 
 his head, his boots trimmed with foxes’-heads ; to the right, a white drapery 
 on a jug near a pool. In the background a man driving three cows ; a 
 hut and trees. Cloudy sky, evening light. 
 
 On Canvas, 3 ft. 7f in. high ; 5 ft, 5 in. wide* 
 
 An early work of J. Jordaens. The shepherd is most probably a 
 portrait of the artist, and the shepherdess possibly a portrait of his wife. 
 
 Formerly ascribed to Eubens. 
 
 No. 37 . {After Jordaens.) A SATYE AT TABLE WITH 
 PEASANTS. To the right a Satyr with grey hair, opposite him a 
 woman with a child in her lap. A man eating out of a dish ; three other 
 figures standing behind. In the back to the right a wall ; to the left, blue 
 sky. 
 
 On Canvas. 1 ft. 6£ in, high ; 1 ft. 9| wide. 
 
 A copy after the picture of Jordaens, in the Munich Gallery, 
 No. 324. 
 
 1 Cornelius de Bie : Set Guldeneabinet, p. 238. 
 
 3 Engraved by Peter de Jode the younger. De Bie gives a portrait of the 
 painter in his age, and Houbraken, Groote Sclmiburgh , vol. ii. 154, one of his 
 y ounger years (about thirty years of age). 
 
ERARD LAIRESSE, or DE LAIRESSE, was born 
 at Liege in 1641: 1 His first master was his- father,. 
 Reinier de Lairesse ; afterwaids he studied under 
 Bertholet Flemalle at Liege, a follower of Nicolas 
 Poussin, and received a thorough scientific instruction. In 1660 
 he visited Aix-la-Chapelle, but soon returned to Liege. When 
 still young, he quitted his home, and settled first at s’Herto- 
 genbosch, then at Utrecht, and finally at Amsterdam, where he 
 received many commissions from Gerard Uilenburg, a picture- 
 dealer. In 1684 he joined the landscape-painter, J. Glauber, and 
 from that time both worked together. He became blind when 
 about fifty years of age, and then held meetings of painters,, 
 engravers, and amateurs, delivering lectures on art, which were 
 afterwards published by his son. 2 3 He died at Amsterdam, J uly 28 r 
 iy 11. 
 
 Lairesse displayed not only great talent as a painter, but 
 also as an engraver. He represented scenes from ancient his- 
 tory and mythology ; he, however, preferred allegorical sub- 
 jects. He also introduced palaces and monuments into his 
 compositions, as he had made a special study of architecture. 
 His style is quite dependent on that of Nicolas Poussin. 
 
 No. 32. PAN AND SYRINX IN A LANDSCAPE. A river- 
 valley with high trees to the left ; to the right, an antique sarcophagus 
 and a distant view of a hill with a farm. In the foreground, on the bank 
 of the river, the god Pan seizing a nymph, whose right hand is transformed 
 into a reed. 
 
 On Canvas. 1 ft. § in. high ; 1 ft. 5f in. wide. 
 
 See note to following picture. 
 
 1 J. Helbig, Histoire de la Peinture au pays de Liege. Liege, 1877, pp. 
 
 199-220. 
 
 3 Groot Scliilderbooli. Amsterdam, 1714. 
 
LAIRESSE—LA URL 
 
 87 
 
 No. 42 . APOLLO AND DAPHNE IN A LANDSCAPE. In 
 the foreground, Apollo, a youth of about twenty, pursuing the maid on a 
 road ; her hands already sprout with foliage. Behind, a village, at the 
 foot of a bank; to the right, a river and low mountains. Evening sky. 
 
 On Canvas. 1 ft. 2f in. high ; 1 ft 5| in. wide. 
 
 Two companion pictures, which clearly show how much the artist 
 was influenced by the idealism of Italian art. 
 
 LAURL — Roman School. 
 
 Born 1623. Died 1694. 
 
 ILIPPO LAURI, born at Rome in 1623, was the son 
 of Baldassare Lauri, a native of Antwerp, and a 
 landscape-painter in the style of Paulus Bril. From 
 him his son received his earliest instruction. After- 
 wards he went to the studio of Angelo Caroselli, his brother-in- 
 law. In 1694 he died at Rome. 
 
 F. Lauri painted principally Bacchanalian and mythological 
 subjects. With the exception of a large picture at Rome repre- 
 senting Adam and Eve, his figures were in small proportions 
 He sometimes painted the figures in Claude le Lorrain’s land- 
 scapes. 
 
 No. 223 . APOLLO FLAYING MARSYAS. Marsyas standing 
 on the right, bound to a tree ; opposite him, Apollo, with laurels in his 
 hair, a knife in his hand, is on the point of skinning him. To the left, 
 four other satyrs, one on a tree; to the right are four satyr boys. 
 Cloudy sky. 
 
 On Canvas. 1 ft. 6| in. high ; 1 ft. in wide. 
 
88 
 
 LA WRENCE. 
 
 LAWRENCE. — English School. 
 
 Born 1769. Died 1830. 
 
 IR THOMAS LAWRENCE was born May 4 
 1769, at Bristol. He was the youngest of sixteen I 
 children; his father, a man of good education, had 
 been first a solicitor, then a supervisor of excise, and 
 ultimately the landlord of an hotel, the ‘ Black Bear,’ at Devizes. 
 His mother, Lucy Reed, was the daughter of a clergyman. 
 Young Lawrence’s first sketch was made when five years old ; 
 and at nine he copied an historical picture of ‘ Peter denying 
 Christ,’ and the following year began to draw portraits profes- 
 sionally. Mr. Lawrence, desirous of making his son’s talent 
 known to the fashionable world, took him to Weymouth, to 
 Oxford, and to Bath. In Bath he hired a house ; and sending 
 the lad’s crayon drawing of the ‘Transfiguration ’ to the Society 
 of Arts, the Committee awarded it the ‘ greater silver palette ! 
 gilt,’ and five guineas. Young Lawrence’s success now rapidly 
 increased ; he constantly received four sitters a day for his <i 
 crayon portraits. In 1785 he commenced oil-painting: his I 
 first work being a full-length figure of ‘ Christ bearing the 
 Cross.’ Shortly after, his father procured him an introduction 
 to Sir Joshua Reynolds, and he became a student of the Royal 
 Academy in 1 787. ‘ Lawrence’s proficiency in drawing,’ says 
 
 Mr. Howard, ‘was such as to leave all competitors in the 
 antique school far behind.’ Before he had reached the required 
 age (twenty-four) he was elected Associate of the Academy; and 
 on the death of Sir Joshua Reynolds, received the appointment 
 of painter to the King, George III. In 1794, at the early age of 
 twenty-five, Lawrence was elected Academician, sending as his j 
 diploma picture ‘ A Gipsy Girl.’ The artist’s reputation was 
 now firmly established : he held a distinguished position in 
 society, which his great talents, his refined mind, his extremely 
 handsome person, and his courtly address combined to elevate. 
 His sitters were of the greatest and noblest ; and steadily raising 
 his prices as his fame increased, his income grew from hundreds 
 
LA WRENCE. 
 
 89 
 
 to thousands, — it is stated to 1 5,000/. But the painter was liberal 
 and extravagant : he maintained his parents, and other members 
 of his family ; and he spent large sums in the purchase of works 
 of art, which he accumulated to the value of 50,000/., and he 
 never refused any who stood in need. Thus his large income 
 was barely sufficient for his expenses. In 1814 the Prince 
 Regent commissioned Lawrence to go to Paris to make portraits 
 of all the illustrious persons who had been connected with the 
 late war. This commission occupied the painter four years, 
 and he had to visit many Continental cities. It was a noble 
 commission : his own price for each likeness, 1,000/. for ex- 
 penses, and knighthood. Lawrence returned to England in 
 1820, just after the death of Benjamin West, and was imme- 
 diately chosen President of the Royal Academy, which office he 
 filled to admiration until his death, which took place very 
 suddenly on the 7th of January, 1830, from disease of the heart. 
 Sir Thomas Lawrence was buried with much ceremony in St. 
 Paul’s Cathedral. After his death his studio was found to be 
 full of sketches, commissions which no length of life would have 
 sufficed to finish, forced upon him by the demands of fashion. 
 Lawrence never married, and was but little in the society of his 
 brother artists, who nevertheless held him in the highest esteem. 
 He was a member of the Academy of St. Luke at Rome, and of 
 many other foreign Academies, and in 1825 was created Chevalier 
 of the Legion d’Honneur. 
 
 No. 357 . PORTRAIT OF THE REV. OZIAS THURSTON 
 LINLEY. A boy’s portrait, with an open, pleasant expression, clear 
 brown eyes. He wears a brown coat, white waistcoat, and cravat. A 
 bine-grey background. 
 
 This is a crayon or pastel drawing. 
 
 On Paper (?). Elliptical ; 1 ft. high ; 9 in. wide. 
 
 No. 359 . PORTRAIT OF WILLIAM LINLEY, Esq. The 
 head is seen in a little more than profile view, looking towards the right ; 
 long brown hair over the forehead, which also falls in curls over the 
 shoulders ; white cravat. Delicate refined painting and colour. 
 
 On Canvas. 2 ft. 5| in. high ; 2 ft. ^ in. wide. 
 
 William Linley was born in 1771, and died in 1835 ; he was the 
 author of 4 Dramatic Songs of Shakespeare,’ a work of genius and 
 merit. 
 
 ‘ So true in the colouring, so careful in execution, that perhaps very 
 
90 
 
 LA WRENCE—LE BRUN. 
 
 few of Lawrence’s more celebrated pictures might bear a comparison 
 with it.’ 
 
 Lent to the Loyal Academy in 1831. 
 
 No. 360. PORTRAIT OF MISS LINLEY. A girl’s portrait 
 of the last century. A white low dress, blue ribbon in her hair, bow 
 and sash of the same, and a narrow strip of the same colour passes over 
 her shoulder and under her dress. 
 
 Crayon or pastel drawing. 
 
 On Paper (?). Elliptical ; 1 ft. high ; in. wide. 
 
 For an account of the Linley family, and the names of the donors of 
 their portraits to the Gallery, see particulars under the heading of 
 Gainsborough, p. 66. 
 
 LE BRUN.— French School. 
 
 Born 1619. Died 1690. 
 
 HARLES LE BRUN (or LEBRUN), son of a 
 sculptor, was born at Paris, February 24, 1619, where 
 he became a pupil of Francois Perrier and of Simon 
 Vouet. The Chancellor Pierre Seguier (1672) was 
 his constant protector. In the year 1642 he went to Rome in 
 company with Nicolas Poussin, where he studied for four years 
 the antique and the great masters, but imitated principally Nic. 
 Poussin. He returned to Paris by way of Lyons, without visit- 
 ing Venice, and took a lively interest in the foundation of the 
 Royal Academy of Painting and Sculpture in 1648, of which he 
 was appointed Director in 1683. By Cardinal Mazarin he was 
 introduced to Louis XIV., from whom he received numerous 
 commissions. In 1660 he was created Director of the Gobelins, 1 
 and in 1662 Director of the Cabinet of Fine Arts, belonging to 
 the King, with whom he also took part in the campaign of 
 Flanders in 1677. Be died at the Gobelins in Paris on Feb- 
 ruary 12, 1690. 
 
 Le Brun exercised much influence over French art during 
 the reign of Louis XIV. He displayed much skill and prolific 
 invention in extensive decorative paintings. His compositions are 
 
 1 The Queen’s Gallery at Hampton Court contains seven large pieces of 
 tapestry representing incidents in the history of Alexander the Great, which are 
 executed after compositions by Le Brun. 
 
LE BRUN. 
 
 9i 
 
 ingenious and light ; they excite admiration, astonishment, and 
 that sort of interest which one feels when seeing a grand show, 
 magnificent ceremonies, or triumphal marches. 
 
 No. 319 . HORATIUS COCLES DEFENDING ROME ON 
 THE TIBER BRIDGE. In the foreground, the river-god Tiber ; 
 opposite him, Codes fighting ; the goddess Rome hovers over him with a 
 laurel wreath in her right hand, an ensign in her left ; Amor with the 
 torch near her ; she floats over the bridge, part of which is being- 
 demolished by Romans behind her. In the background, to the right, 
 a Roman town gate ; to the left, in the distance, blue mountains ; 
 evening sky. 
 
 On Canvas. 3 ft. 11J in- high ; 5 ft. 64 in. wide. 
 
 An early work, painted under the influence of Nicolas Poussin ; the 
 architectural parts of the picture show an exact study of Roman anti- 
 quities. 
 
 No. 252 . THE MASSACRE OF THE INNOCENTS. Soldiers, 
 one on horseback, massacring children, whose mothers are wailing. In 
 the centre, Herod in his car, with four horses, riding down children and 
 then* mothers. A bridge with fighting men across the middle distance ; 
 beyond, the mausoleum of the Emperor Augustus at Rome (now the 
 Teatro Correa), represented in its original state ; to the left, the pyramid 
 of Cestius (near the Porta Ostiensis at Rome). 
 
 On Canvas. 4 ft. 3 in. high ; 6 ft. 1 in. wide. 
 
 Painted in 1657 and in the following years at Paris. 1 Formerly in 
 the Orleans Collection, from which M. Desenfans bought it for 150/. 2 
 
 Engraved by Le Noir. 
 
 A very stirring composition, in which the most atrocious cruelties 
 are depicted and displayed in theatrical exaggeration. 
 
 No. 363 . {School of Le Brun.) PORTRAIT OF MOLIERE. 
 Turned to the right, the face seen in full ; long black hair ; thin mus- 
 tachios ; the right hand on the mantle ; shirt open at the throat ; left 
 hand not visible ; life-size figure. 
 
 On Canvas. 2 ft. 3f in. high ; 1 ft. lOf in. wide. 
 
 1 In the Galerie du Palais Royal is an engraving of the picture by D. P. 
 Bertaux and J. Aliamet, engraver to the king. The picture is there described in 
 the following terms : ‘ The “ Massacre of the Innocents ” is a picture of perfect 
 beauty. The composition and the arrangement are sublime, the expression grand, 
 noble, and just. The elegance and purity of the drawing, the execution and the 
 taste of the draperies, leave nothing to be desired. The picture was commenced 
 in 1657 for a Canon who was an amateur of pictures. It was finished some years 
 afterwards for Mr. Metz, Garde du Tresor Royal.’ 
 
 2 See Passavant, Tout of a German Artist in England. London, 1836, vol. ii. p- 
 
02 
 
 LE BRUN— LINGELBACH. 
 
 Moli&re, the French writer of comedies (1622-1673), is here repre- 
 sented as about thirty- five years of age. The picture was formerly 
 ascribed to Carlo Maratti, an Italian painter (1625-1713), but its 
 execution clearly shows that it belongs to the French School. Maratti 
 and Moliere had no connection with one another. This picture corre- 
 sponds entirely with the engraving by T. Pozzelwhite from the original 
 picture, which is ascribed to Le Brun’s school, in the collection of the 
 French Musee Royal. See ‘ The Gallery of Portraits with Memoirs/ 
 vol. i. London, 1833. 
 
 A similar portrait of Moliere has been painted by Pierre Mignard, , 
 painter of historical subjects and of portraits (1610-1695). 
 
 LINGELBACH. — Dutch School. 
 
 Born 1625. Died 1674. 
 
 OHANN LINGELBACH, son of David Lingelbach 
 and Agnes Jans, was born at Frankfort-on-the-Main 
 in October 1625. When still young, he went to 
 Amsterdam, in 1642, and to Paris, and two years 
 afterwards he travelled to Rome, where he stayed eight years. 
 In 1652 he travelled through Germany on his return to Amster- 
 dam, where he became the proprietor of the so-called Labyrinth 
 on the street Roogegraft just opposite Rembrandt’s house. He 
 died at Amsterdam, November 24, 1674. 1 
 
 Lingelbach painted very different sorts of pictures, but prin- 
 cipally, and with special skill, crowds composed of varied groups, 
 Italian seaports, hunting scenes, and fairs. Karel du Jardin 
 is said to have been his master ; sometimes he imitated Ph. 
 Wouwerman. The figures in the landscapes of Wijnants, 
 Hobbema, Hackaert, Moucheron, Philip de Koninck, Jacob van 
 Ruisdael, R. van Vries (?), are often by Lingelbach. 
 
 No. 77 . A SEAPORT WITH ORIENTAL FIGURES. In 
 the foreground, numerous figures in Oriental costumes ; in the centre a 
 rider with a quiver containing arrows ; to the left, a statue of Neptune ; 
 to the right, a man sitting ; at his feet a globe, a cross, and papers. In 
 
 1 EE Havard, I? Art et les Artistes Hollandais. Paris, 1879, p. 115. 
 
LING ELBA CH—L O U THERE 0 UR G. 
 
 93 
 
 the background, a lighthouse and ships ; to the left, Homan ruins > 
 cloudy sky. Signed and dated, 
 
 J-'Lihcllbac^ 
 
 Pfctt 
 
 o 
 
 On Canvas. 2 ft. 2% in. high ; 2 ft. 9 ^ in. wide. 
 
 The scenery recalls the port of Genoa. The man sitting in the right 
 corner of the picture probably represents the portrait of a traveller. 
 
 No. 90. A BLACKSMITH’S SHOP AT HOME. In the fore- 
 ground, a blacksmith’s shop with the Papal coat-of-arms ; a pack-mule is 
 being shod by two men in front of it. In the background, a view on 
 to the church Trinita de’ Monti, and on to the Monte Pincio at Borne ; 
 grey-blue sky. 
 
 On Canvas. 1 ft. 9 f in. high ; 1 ft. in. wide. 
 
 Previously ascribed to Slingelandt, but it is doubtless an original 
 painting by Lingelbach. 
 
 LOUTHERBOURG.— English School. 
 
 Born 1740. Died 1812. 
 
 HILIP JAMES DE LOUTHERBOURG was bom 
 at Strasburg, October 31, 1740. His father was 
 a miniature-painter, and his masters were Tischbein, 
 Vanloo, and Casanova. Loutherbourg possessed 
 great facility of hand, and great talent for variety of subject : 
 he painted land, capes, sea and battle pieces, and was a re- 
 markably fine scene-painter. After obtaining considerable 
 celebrity in Paris, and being made a member of the French 
 Academy, he travelled through Germany, Switzerland, and 
 Italy, and finally settled in England. On his arrival he was 
 immediately engaged by Garrick to make designs for scenery at 
 Drury Lane Theatre, at a salary of 500/. per annum ; and in 
 1771 was elected a full member of the Royal Academy, always 
 contributing to the Exhibitions. Besides his engagement at 
 Drury Lane, he was scene-painter at the Opera, for which 
 
94 
 
 LOUTHERBOURG. 
 
 particular branch of his art he was peculiarly qualified by his 
 versatile talents. Late in life Loutherbourg became a disciple 
 of the fanatic Richard Brothers, and like him professed to be a 
 prophet ; but some of his predictions having failed, his house , 
 was attacked by a mob, whose violence destroyed his illusions, 
 and prevented further attempts at prophecy. He died in 
 Hammersmith Terrace, March n, 1812, and was buried in Chis- 
 wick churchyard. Loutherbourg produced a diorama on a 
 small scale, called the ‘ Eidophusikon/ which was the delight 
 of Gainsborough. Added to his many other works, he made 
 etchings of several of his own compositions. 
 
 No. 55. LANDSCAPE WITH CATTLE. A rock stands up 
 crested with bushes ; a hillside is beyond it to the right, which has a 
 stream flowing around its base ; cattle are in the water. A man, riding 
 a donkey, is followed by a dog driving some sheep, on the left. Hills 
 are in the distance ; a warm evening sky, with summer clouds. 
 
 On Canvas. 1 ft. 9f in. high ; 2 ft. 3 in. wide. 
 
 No. 89. LANDSCAPE, WITH CATTLE AND FIGURES. A 
 clump of elms forms the middle mass of the composition ; a warm setting 
 sun is behind them. A group of cows, a calf, sheep, and a donkey 
 occupy the middle of the foreground ; they drink from a stream which 
 comes to the edge of the picture. Prominent among them is a white 
 cow ; a man and a dog look after the herd \ a mounted figure is in the 
 middle distance. Two beech-stems are seen on the right near the frame. 
 
 On Canvas. 2 ft. 2£ in. high ; 3 ft. 2 in, wide. 
 
MARATTI. — Roman School. ^ 
 
 Born 1625. Died 1713. 
 
 ARLO MARATTI (or MARATTA) was born at 
 Camerano, near Ancona, May 13, 1625. He went 
 to Rome in 1636, and was for ten years in the studio 
 of Andrea Sacchi, but was specially influenced by 
 Annibale Carracci and Domenichino. He then returned to his 
 native land, and settled finally in Rome in 1650. Six Popes 
 gave him commissions for important works. He also painted in 
 other great towns in Italy. On December 15, 1713, he died at 
 Rome. 
 
 Carlo Maratti had the nickname of Carluccio delle Madonne, 
 because of the numerous Madonna pictures he painted. He 
 chiefly aimed at uniting simplicity with elegance ; his scheme of 
 colour is blooming, but without originality. 
 
 No. 342. HOLY FAMILY. In the centre, the Madonna seated, 
 in a white dress and blue mantle. On her lap the infant Christ em- 
 bracing St. John, who is held by his mother; a lamb stands near her. 
 To the left, St. Joseph seated, with his right hand on the cradle. 
 Behind, St. Elizabeth ; Zacharias standing, holding an open book ; 
 angel boys above. Blue sky and architecture in the background. 
 
 On Canvas. 1 ft. 6f in. high ; 1 ft. 2f in. wide. 
 
9 6 
 
 MIEL. 
 
 MIEL. — Flemish School. 
 
 Born 1599. Died 1656. 
 
 AN MIEL was born at Antwerp in 1599. He was a 
 scholar of G. Zegers, and studied in Rome under A. 
 Sacchi. In 1648 he was admitted as member into 
 the Academy of St. Luke. Shortly afterwards he was 1 
 summoned to the Court at Turin by Charles Emanuel II., Duke 
 of Savoy, where he died in 1656. 1 
 
 His paintings, as a rule, represent scenes from the life of the 
 lower classes in Italy, country people, musicians, beggars ; the 
 landscape frequently is an important feature in the work. 
 He also painted some altar-pieces for Roman churches. In his 
 genre pictures the execution is very careful, the design accurate, 
 the colouring often cool and dark, the rendering flat. The 
 figures in Claude le Lorrain’s landscapes are often painted by 
 him. 
 
 No. 21 . A SPORTSMAN AND A WOMAN WITH A GUITAR. 
 
 In the centre, a young woman seated on the ground, with a guitar in her 
 hands. On her right, a huntsman, standing, and loading his gun ; a dog 
 near them. In the middle distance, a circular tower and a Roman ruin. 
 Hills in the background ; blue sky and dark clouds. 
 
 O 11 Panel. 8 in. high ; Ilf in. wide. 
 
 Probably portraits of an Italian married couple. The colouring is of 
 an enamel-like effect. A genuine work of the master. 
 
 Formerly only ‘ ascribed ’ to him. 
 
 No. 103 . ITALIAN COURTYARD. In the foreground, a woman, 
 seated, conversing with a boy ; a youth in a flapping hat stands behind 
 her ; a dog in the middle of the yard ; to the right, a woman twirling 
 yarn ; another washing linen in the background. 
 
 On Canvas ; stretched on Panel. 1 ft. in. high ; 1 ft. wide. 
 
 Presented to the Gallery by Philip Kemble, Esq. 
 
 1 E. Fetis : Bulletins de VAcademie Boyale de la Belgique, 1857, p. 157. 
 
MOLA —MONA M V. 
 
 97 
 
 MOLA. — Bolognese School. 
 
 Born 1612 . Died 1668 . 
 
 IETRO FRANCESCO MOLA was born at Coldre, 
 near Como, in 1612, and studied at first under Pros- 
 pero Orsi, and afterwards under Giuseppe d’Arpino 
 at Rome ; he studied colour at Venice. He then 
 painted at Rome in the manner of Bassano, and joined Albani 
 at Bologna. In the year 1650 he settled at Rome and died there 
 in 1668. 
 
 As a scholar of Albani, Mola belongs to the Bolognese 
 School ; his figures have, however, more life than those of 
 Albani. 
 
 No. 195. HAGAR AND ISHMAEL. Hagar, in a yellow dress 
 and red mantle, kneels on the ground, turned to the right, where 
 Ishmael lies ; an angel appears close to her, on clouds ; trees in the 
 background ; evening sky. 
 
 A Circular Panel. 7 ^ in. in diameter. 
 
 The representation of Hagar and Ishmael was a favourite subject of 
 Mola’s. Similar pictures by him are in the Louvre at Paris (No. 266) 
 and in Lord Northbrook’s Collection. 
 
 No. 206. HOLY PAMILY IN A LANDSCAPE. To the left, 
 near the base of a column, the Madonna, with the infant Christ holding 
 an apple ; opposite her, St. J oseph kneeling, with a basket ; to the right, 
 a donkey grazing ; hilly landscape in the distance ; blue sky. 
 
 On Canvas. 1 ft. in. high ; 1 ft. 10 in. wide. 
 
 The figures are executed under the influence of Titian. 
 
 MONAMY.— English School. 
 
 Born 1670. Died 1749. 
 
 ETER MONAMY was born of poor parents in 
 Jersey, about the year 1670. He came with them 
 to England, and acquired a knowledge of the rudi- 
 ments of art from a house- and sign-painter who 
 |j resided near, on London Bridge. Walpole says : ‘ The shallow 
 waves that rolled under his window taught young Monamy 
 
MONA M Y— MU RILL O . 
 
 what his master could not teach him, and fitted him to imitate 
 the turbulence of the ocean.’ He gained great reputation as a 
 painter of sea-pieces, became a man of great intelligence, and, to 
 judge from his portrait, painted by P. Stubly, possessed great 
 personal attractions. There are two pictures by this master in 
 Hampton Court. He died 1 / 49 * 
 
 No. 92. A CALM. A sloop with all sails furled, except a square 
 sail and a driver, is at anchor. 
 
 Two men in a boat pull across the front from right to left ; behind 
 is a boat with a man in it ; and two fishing-boats with flapping sails. 
 Above the bowsprit of the sloop another fishing-boat is seen, and a 
 square-rigged ship in the distance. On the right a war- ship fires 
 a salute from both sides ; another topmast is seen through the smoke. 
 A bank of mist closes the distance ; fine weather is showing overhead, 
 through a yellowish sky, which is farther indicated by the gambols 
 of a school of porpoises in the foreground. This picture was formerly 
 attributed to W. van de Yelde. 
 
 Engraved by P. Cockburn. 
 
 On Canvas. 2 ft. high ; 2 ft. 5 £ in. wide. 
 
 MURILLO.— Spanish School (Sevilla). 
 
 Born 1612. Died 1682. 
 
 ARTOLOME ESTEBAN MURILLO was born at 
 Seville, 1 probably January 1, 1618. He first 
 
 visited the studio of Juan del Castillo, a distant 
 relation of his. When twenty-eight years of age, he 
 went to Madrid, where he received advice from Velazquez and 
 where he studied the works of Titian, Rubens, van Dijck, Ribera, 
 and Velazquez, at the royal palaces. 
 
 He returned to Seville in 1645, and in 1660 founded the 
 Academy of Painting there. In consequence of a fall he had at 
 Cadiz, 1682, he died on April 3 in the same year, in his native 
 town. 
 
 Murillo surpasses all the other Spanish painters by the depth 
 of feeling in his religious compositions. He is unsurpassed in 
 the rendering of religious ecstasy and enthusiasm. Even in his 
 
 1 According to Palomin he was born at Pilar near Seville. 
 
MURILLO. 
 
 99 
 
 scenes of common life, and especially in the representation of 
 beggars, he understands how to unite a genuine and often rough 
 conception with a pleasant feeling of healthy humour. 
 
 Murillo had three distinctive styles — viz. the * frio 1 (the 
 cold), his earliest, which was dark, with a decided outline ; the 
 * calido' (the warm), his second, the colouring of which was 
 warmer, the drawing being equally well defined ; and the 
 4 vaporoso ’ (vaporous), his last, which was less decided in its 
 detail and less sparing in its colouring. His latest style has 
 contributed most to his popularity. He did not, however, paint 
 in these different manners at subsequent epochs, but adapted 
 them to the subjects he wished to represent. 
 
 He had also three favourite subjects which he especially 
 loved to paint : his beggars are beyond praise ; his Franciscan 
 friars are faithful delineations of conventual types ; his Virgins 
 are fine conceptions of female beauty, unruffled by guilt or 
 passion . 1 
 
 No. 248. THE SPANISH FLOWER-GIRL. A dark girl, 
 about twelve years old, seated on a stone-bench, dressed in a yellowish 
 bodice and over-sleeves, with a yellow-brown petticoat, white sleeves, and 
 under-dress ; over her left shoulder, a brown embroidered scarf, on the 
 end of which she holds four roses, smilingly asking for custom. A white 
 scarf is wound round her head, which is turned towards the spectator, 
 with a rose stuck in it. To the left, a pilaster ; to the right, a landscape, 
 with bushes ; cloudy sky. 
 
 On Canvas. 3 ft. lOf in. high ; 3 ft. 1| in. wide. The canvas has been en- 
 larged, the original size is 3 ft. 5§- in. high, 2 ft. 9§ in. wide. 
 
 A masterpiece in invention, in characteristic harmony of fine colours. 
 
 Engraved by Robinson, R. Cockburn, and others. Mentioned by 
 Waagen, Mrs. Jameson, W. Stirling, and Charles Blanc. 2 
 
 The following statements 3 reveal the history of the picture as far as 
 it can be traced back : — 
 
 Countess de Verrue sale, 1737. 
 
 1 W. Stirling : Annals of Artists in Spain , vol. ii. D. Pedro de Madrazo : 
 Catalog o istorico y descriptivo del Museo del Prado de Madrid. Madrid, 1872. Ford : 
 Handbooli of Spain. 
 
 2 Treasures of Art in England , vol. ii. p. 346 : ‘ A girl with great simplicity of 
 expression, holding some roses in her handkerchief. A choice example of the veiy 
 peculiar contrasts and harmony of colours which give many of Murillo’s pictures 
 such a magical effect.’ Charles Blanc : L'Histoire des Peintres , Paris, 1869. ‘ Ecole 
 espagnole, Murillo,’ p. 16. ‘ Dulwich College : Cette collection si remarquable et si 
 variee contient deux tableaux de Murillo d’un tres-bon choix ; citons la jeune fille 
 aux fleurs, l’enfant Jesus avec un mouton, le Bon Berger, Jacob et Rail el.* 
 Mrs. Jameson, Public Galleries, p. 483. 
 
 3 For the communication of these facts Dr. Richter is indebted to Mr. Charles 
 B. Curtis, of New York. 
 
 H 2 
 
IOO 
 
 MURILLO . 
 
 Comte cle Lassay sale, 1775. 
 
 Blondel de Lagny sale, 1776 ; sold for 12,000 liv. to Basan. 
 
 (?) Randon de Boisset sale : ‘ A boy, and a girl holding her veil, hair 
 length. These two good pictures are on canvas, and each is 19 in. x 
 14 in. 6 lin. ; from the cabinet of the Countess de Verrue/ 2,599 liv. 155. 
 
 Calonne sale, March 23, 1745, No. 97. * Life-size girl with flowers,. ' 
 
 formerly in the cabinet of Mr. Boisset/ sold 900 liv. (672?.) 
 
 Buchanan 1 says that the picture formerly in R. de Boisset’s collec- 
 tion was sold at the Calonne sale for 640 guineas to Desenfans, and 
 bequeathed by his heir, Sir F. Bourgeois, to Dulwich College. 
 
 No. 283. THREE SPANISH PEASANT BOYS. To the right, 
 a boy sitting on the ground and holding a cake ; opposite him,, a negro 
 boy, carrying a jug on his left shoulder, asking for some of the cake, but 
 in vain ; to the left, a younger boy, laughing, and pinching the negro’s - 
 leg \ a jug and a basket in front ; mountains in the distance ; cloudy sky. 
 
 On Canvas. 5 ft. 2f in. high ; 3 ft. 5 in. wide. 
 
 No. 288. TWO SPANISH PEASANT BOYS. A poorly-dressed 
 boy sits on the ground, two bats and two balls before him, a pointer in- 
 his right hand. He looks laughingly at a boy, standing to the left, with 
 a jug in his right hand, and bread in his mouth and left hand ; a dog at 
 his feet. In the back, to the right, a building ; to the left, cloudy sky. 
 The background probably not finished. 
 
 On Canvas. 5 ft. 3^ in. high ; 3 ft. 5£ in. wide. 
 
 Two companion pictures ; in some parts the colours possess less | 
 transparency than is usual with the master ; very spirited in conception. | 
 Mentioned by Waagen, 2 Mrs. Jameson, and Hazlitt. Similar repre- 
 sentations by Murillo are in the Munich Gallery. No. 348 : Two 
 beggar-boys eating grapes and melons. And No. 357 : Two beggar- j 
 boys playing at dice. An early record of one of the two groups of 
 beggar-boys in the Dulwich Gallery is probably the following reference • | 
 in Evelyn’s ‘Journal’ on the sale of Lord Melford’s effects at White- 
 hall, April 21, 1693 : ‘Lord Godolphin bought the picture of the boys, 
 by Morillio, the Spaniard, for eighty guineas. Deare enough.’ 
 
 Engraved in mezzotint by Say. 
 
 No. 347 . LA MADONNA DEL ROSARIO. The Madonna sits 
 enthroned on clouds ; pink dress, dark blue mantle, yellow veil ; on her 
 lap the infant Christ holding a rosary ; four angel-boys floating on clouds 
 below ; yellow light behind the Madonna. 
 
 On Canvas. 6 ft. 5^ in. high ; 4 ft. 2 in. wide. 
 
 Only in exceptional cases did Murillo represent the Madonna 
 enthroned ; he has well succeeded here in giving her the expression of 
 
 1 W. Buchanan, Memoirs of Painting, London, 1824, vol. i. p. 255 : No. 99. ‘ The 
 Gipsy girl with flowers." 
 
 2 Treasures of Art, vol. ii. p. 346. 
 
MURILLO. 
 
 ior 
 
 the Queen of Heaven ; unfortunately the picture has been painted in 
 many parts. 
 
 Engraved by Groser. 
 
 [ Mentioned by Passavant. 1 
 
 Ho. 262. (After Murillo.) THE INFANT CHRIST REPRE- 
 SENTED AS THE GOOD SHEPHERD. Standing in front, the face 
 turned heavenwards ; about five years of age ; his left hand raised and 
 resting on a shepherd’s crook ; his right on the head of a sheep ; red 
 dress ; two sheep looking up ; a tree to the left ; blue sky. 
 
 On Canvas. 1 ft. 5^ in. high ; 1 ft. wide. 
 
 In the original, which is in the collection of Raron Lionel Roth- 
 schild at Paris, the figures are life-size ; another copy, of the dimensions 
 of the original, and painted by Grimou, is No. 59 in Lord Ellesmere’s 
 Collection at Bridgewater House. 
 
 No. 341. (After Murillo .) THE IMMACULATE CONCEP- 
 TION. The Virgin, in white dress and blue mantle, which she clasps to 
 her bosom, is floating among clouds ; her head inclines to the right. 
 Two small angels at her feet, one behind her with a palm-branch ; four 
 others above ; and seven on her right. 
 
 On Canvas. 1 ft. 2^ in. high ; ID in. wide. 
 
 This composition comes very near to the large original picture by 
 Murillo at Lansdowne House. 
 
 No. 317. ( After Murillo.) TWO ANGEL BOYS. Two angel 
 boys winged, floating on clouds and contemplating the Crown of Thorns, 
 which lies below on the right. 
 
 On Canvas. 8f in. high ; 10^ in. wide. 
 
 No. 330. (School of Murillo) INFANT CHRIST SLEEPING. 
 The Child about two years of age, nude, lies on white pillows. The right 
 hand bent away from the body ; the left rests on the hip ; the left leg 
 lying across its fellow. A red curtain, looped up on each side. 
 
 On Canvas. 1 ft. 10^ in. high ; 2 ft. 8-o- in. wide. 
 
 No. 312. (School of Murillo.) THE ADORATION OF THE 
 MAGI. To the left, the Virgin, seated, with the Child in her lap; 
 behind her, St. Joseph, standing; to the right, the kings in adoration; 
 one in a yellowish mantle, kneeling ; another, in a red mantle, standing ; 
 they are followed by others — in all, eleven figures. Mountains in the 
 background ; dark sky. 
 
 On Canvas. 1 ft. 1 in. high ; 10 in. wide. 
 
 Probably taken from a large composition. 
 
 Tour in England, vol. i. p. Gl. 
 
102 
 
 MURILLO . 
 
 No. 129. ( School of Murillo.) INFANT ST. JOHN WITH A 
 
 LAMB. St. John sits on the ground to the right, clad in a sheepskin 
 and red mantle ; a cross in his right hand ; the lamb to the left ; behind 
 are a rock and a landscape. 
 
 On Canvas. 1 ft. 1H in. high ; 2 ft. 8 in. wide. 
 
 Painted in imitation of Murillo. 
 
THE BROTHERS LE NAIN.— French School. 
 
 Born 1593. Died 1648-77. 
 
 OUIS, ANTOINE, and MATTHIEU LE NAIN 
 were born at Laon, in France, where they were 
 taught painting by an unknown foreign master 
 during a year. They went, however, afterwards to 
 Paris to perfect themselves in their art, and in January 1648 
 they became members of the Royal Academy. Louis, the 
 eldest, called Le Romain, was born about the year 1593, and 
 died March 23, 1648. Antoine, called Le Chevalier, died March 
 25, 1648 ; and Matthieu, August 20, 1677. Nothing else is 
 known about their lives. 
 
 The three brothers painted chiefly compositions with gro- 
 tesque figures ( bambochades ). They gave to the heads a serious 
 and often a melancholy expression ; the prevailing tone in their 
 colouring is a certain greyish green, broken by a bright red, 
 which is generally the colour of the draperies. No distinctive 
 difference has as yet been discovered in the style of their works, 
 which are therefore attributed to the three brothers in common. 
 
 No. 158. MUSICIANS. A young woman seated before a table 
 playing the guitar ; near her, to the right, another woman ; an old man 
 stands playing the flute behind the table, on which are seen a jug, a cup, 
 and a loaf of bread; a dog before it ; three-quarter length figures ; dark 
 background. 
 
 On Canvas. 1 ft. high ; 1 ft. 3 |- in. wide. 
 
 Serious rendering of a composition, which is not without comical 
 effect. 
 
104 
 
 NEEFS—FRANCKEN. 
 
 NEEFFS. — Flemish School. 
 
 Born 1570. Died 1657. 
 
 IETER NEEFFS (NEFS, NEEFS) the elder was 
 born in Antwerp about 1 570. He was a scholar of 
 Hendrick Steenwyck, was admitted as a master into 
 the St. Lucas Guild 1 in 1610, and died at Antwerp 
 about the year 1651. There is nothing else known of his life. 
 
 He painted the interior of churches with the greatest accu- 
 racy and the most admirable patience. His works, which are 
 very numerous, were praised by Cornelis de Bie. 2 The figures 
 in his pictures are painted by D. Teniers, Brueghel, van Tulden, 
 and Francken. 
 
 FRANCKEN.— Flemish School. 
 
 Born 1581. Died 1642. 
 
 RANZ FRANCKEN the younger was born at Ant- 
 werp in 1581. He first studied under his father, 
 afterwards visited Italy, and settled as an indepen- 
 dent master at Antwerp in 1605. He died May 
 
 6, 1642. 
 
 Besides altar-pieces, he also painted subjects of biblical and 
 classical liistory, which he set off with numerous accessories. He 
 has painted the figures in the following picture by Pieter Neeffs. ! 
 
 No. 79. THE INTERIOR OF A CATHEDRAL. A view taken 
 from the principal entrance into a three-aisled church with side-chapels, 
 circular columns, and pointed arches. Altars near most of the columns. 
 The pictures on them represent, to the right, an Ecce Homo, a 
 Madonna, a Descent from the Cross, a Gethsemane (1), a Bishop, the 
 Way to Calvary ; to the left, a Holy Family. In the foreground, a man 
 giving alms to a crowd of cripples ; to the left, a priest conversing with 
 a lady, and a gentleman talking to a servant ; two monks and a woman 
 kneeling. On the whole nineteen figures. Through a window on the 
 left a view of houses and another church. Signed 
 
 PEE TER NEE//S 
 
 On Panel. 1 ft. 9 in. high ; 2 ft. 8f in. wide. 
 
 Very clear and transparent in tone, although somewhat monotonous 
 in colour. 
 
 See Liggere. 
 
 - Het Guide ncabinet, p. 155. 
 
VAN DER NEER—NORTHCOTE. 
 
 OS 
 
 VAN DER NEER.— Dutch School. 
 
 Born 1619. Died 1682. 
 
 ART VAN DER NEER was born, probably, in the 
 year 1619, at Amsterdam, where he is said to have 
 died in 1682. He worked chiefly at Amsterdam, 
 and was probably acquainted with A. Cuijp. 1 
 
 His pictures generally represent the effects of moonlight, 
 sometimes conflagrations by night, winter and summer land- 
 scapes in evening light. His moonlight landscapes are always 
 rendered in the same peculiarly attractive manner ; the deep 
 shadows are of unequalled clearness. 
 
 No. 112 . RIVER SCENE BY MOONLIGHT. The river occu- 
 pies the centre of the picture ; houses on either side in the distance ; a 
 church to the left, over it the full moon, whose beams glitter on the water 
 in the foreground. In front a fisherman and a wayfarer. Cloudy sky. 
 Signed 
 
 yy em 
 
 On Canvas. 1 ft. 10^ in. high ; 2 ft. 5 in. wide. 
 
 This artist has painted some two hundred river scenes by moonlight 
 without repeating himself. 
 
 NORTHCOTE, R.A. — English School. 
 
 Born 1746. Died 1831. 
 
 AMES NORTHCOTE was born in Plymouth, 
 October 22, 1746, where his father followed the trade 
 of a watchmaker, and took him as his own appren 
 tice. But young Northcote disliked the trade, and 
 •occupied all his spare time in the study of art. In 1771 Dr. Zachary 
 Mudge introduced him to Sir Joshua Reynolds, who, with his 
 customary kindness, took him as resident pupil, and Northcote 
 icmained in the house of his master five years, when his dili- 
 
 1 This may be inferred from the fact that the figures in the landscape by A. 
 van der Neer, No. 152 in the National Gallery, are painted by A. Cuijp. 
 
io6 
 
 NORTHCOTE. 
 
 gence was so great that he gained the esteem and approval of 
 the good President. On quitting Sir Joshua, Northcote set up 
 as a portrait-painter ; but not feeling satisfied, and wishing to 
 follow the higher walk of historical painting, he went to Rome 
 in 1777. There he spent about five years, was elected member 
 of the Academies of Florence and Cortona, and returned to 
 England, in time to assist Alderman Boydell with his Shak- 
 speare Gallery. For this work Northcote painted nine good 
 pictures, which completely established his reputation, and secured 
 him a high position among the artists of his own time. These 
 works were succeeded by other historical and Scriptural pieces, 
 many of which were engraved, and thus spread his fame over the 
 Continent of Europe. Success served to increase the painter’s 
 enthusiasm ; but his abilities were limited, and he never reached 
 the height to which he aspired. This disappointment aroused 
 within him a spirit of sarcasm, which he vented in remarks upon 
 the works of his more successful contemporaries, and few escaped 
 condemnation. Northcote was student of the Royal Academy, 
 elected Associate in 1786, and Royal Academician in 1787. He 
 contributed largely to the Exhibitions ; and notwithstanding 
 somewhat defective drawing, and the dull colour of his pictures, 
 he acquired a considerable fortune by the practice of his art. 
 This fortune was but little diminished throughout his long life, 
 for his habits were so penurious that a tithe of his income 
 sufficed for his expenses. Northcote did not marry ; a sister, to 
 whom he left all his property, resided with him, and assisted in 
 all his plans for economy. Up to within a day of his death he 
 worked ; and when quite an old man he contributed essays to a 
 magazine called ‘ The Artist in 1828 he published the well- 
 known ‘ Fables ; ’ and two years later, at the age of eighty-four, 
 he brought out the ‘ Life of Titian.’ Northcote’s ‘ Life of Sir 
 Joshua Reynolds’ was his first great literary effort. He died 
 July 13, 1831, at the house in which he had Resided above half a 
 century, 39 Argyll Street, Regent Street, and was buried in 
 Marylebone New Church. 
 
 No. 183. PORTRAIT OF SIR P. F. BOURGEOIS, Kt., R.A. 
 The face looks out from the picture ; reel drapery behind ; white neck- 
 tie, red coat or dressing-gown, with fur edge. 
 
 See Biographical Notice, p. 18. 
 
NOR THCO TE—NU VOL ONE. 
 
 107 
 
 No. 338. PORTRAIT OF NOEL DESENFANS, Esq. An 
 amiable, shrewd face looks out from the picture ; he wears a high-collared 
 dark coat over a red waistcoat, and large white cravat. The head is seen 
 in nearly full view. 
 
 Engraved by Freeman. 
 
 On Canvas. Elliptical ; 2 ft. 4| in. high ; 1 ft. 11| in. wide. 
 
 Noel Joseph Desenfans was born at Douai, in 1745 ; and it is said 
 was brought up in a foundling institution. He was educated partly at 
 Douai, and partly at Paris. He commenced life as a writer, but before 
 he was thirty years of age came to London as a teacher of languages. 
 He had considerable taste, and much love of the fine arts, and often 
 attended picture sales ; at one of these he bought a small picture, by 
 Claude, so advantageously, that when he sold it to George III. for 1,000/., 
 the profit he made induced him to turn his whole attention to picture- 
 dealing. His friendship with the Prince Primate of Poland, brother to 
 Stanislaus, was the means of his obtaining a commission from that mon- 
 arch, to purchase fine pictures. He was made Consul-General for Poland, 
 in England. In 1802 he found there was no probability of his being 
 repaid for the pictures he had bought ; he issued a Catalogue of the pic- 
 tures, which he then tried to dispose of by private contract. Of the 188 
 pictures in his Catalogue, only thirty-nine are in the present Gallery ; 
 but he added to his collection considerably between 1802 and 1807. He 
 married Margaret Morris, sister of Sir John Morris, of Claremont, Gla- 
 morganshire. In 1799 he published a plan for the advancement of the 
 fine arts in England, by the establishment of a National Gallery. If 
 the scheme was carried out, he offered to contribute liberally to it in 
 pictures and in money. He died on July 8, 1807, and by his will, 
 dated October 8, 1803, he left the whole of his collection to Sir Francis. 
 Bourgeois, P.A. 
 
 NUVOLONE.— Milanese School. 
 
 Born 1607. Died 1651. 
 
 CARLO FRANCESCO NUVOLONE, sometimes 
 called Pamfilo, born at Milan in 1607, was a son of 
 the painter Pamfilo Nuvolone, a Cremonese artist,, 
 who gave him his first instruction. Nuvolone painted 
 at first in the manner of his father, and of other Cremonese 
 artists, under the influence of Camillo Procaccini (1545-1626), 
 taking more especially the works of Giulio Cesare for his model. 
 At a later period he combined his style with the ideals of Guido 
 Reni, to which he owes his popular name of Guido della Lom- 
 bardia. He settled at Milan, where numerous paintings by him 
 are to be found. He died in 165 1. 1 
 
 1 Lanzi, Storia della Pittura in Italia. Galleratis, Instruzione della Pittura 
 Milanese. Ticozzi, Dizionario dei Pittori. Milano, 1818, vol. ii. p. 83. 
 
io8 
 
 NU VO LONE. 
 
 Nuvolone had a particular style of his own, the beauties of 
 which lie in the light and colour, not in the drawing. He has 
 been called the Milanese Murillo. 
 
 No. 364. THE CREATION OF EYE. In the foreground, 
 Adam sleeping ; behind him, Eve. The Creator, standing to the left, 
 takes her by the hand, and holds up his left hand. He is clad in a violet 
 dress and blue mantle. Near him a lion. In the centre a dog, a sheep, 
 and a rock. Trees in the background. 
 
 On Canvas. 5 ft. 10;} ill. high ; 6 ft. 3 in. wide. 
 
 Formerly in the Collection of the Duke of Alva, at the sale of whose 
 pictures (about 1820) it was bought by Peter Carry Tupper, Esq., then 
 Consul at Valencia. Presented to the Gallery in 1845 by the family of 
 the late Martin Tupper, Esq. Formerly ascribed to Camillo Procaccini. 
 
OMMEGANCK.— Flemish School. 
 
 Born 1755. Died 1826. 
 
 ALTHAZAR PAUL OMMEGANCK was born at 
 Antwerp, December 26, 1755. In 1767 he entered 
 the studio of Plenricus Josephus Antonissen, and' 
 was appointed professor of painting at the Antwerp 
 Academy in 1796. He held an important position, and died at 
 Antwerp, January 18, 1826. 
 
 Pie was the first animal painter and one of the most distin- 
 guished landscape-painters of his time. Plis conception is en- 
 tirely realistic, his execution very careful, but cold in tone. In 
 his landscapes he usually represents the environs of Antwerp ;; 
 his pictures were highly appreciated during his lifetime, not only 
 in his country, but also at Paris, where he often exhibited. 
 
 No. 66. A BULL. The bull is seen in profile to the right ; behind 
 it, his keeper, lying on the ground ; near him, a dog ; in the distance,, 
 meadows, with cows, and a woman ; a church, windmills and cottages 
 among trees ; evening sky. 
 
 On Panel. 1 ft. 2\ in. high ; 1 ft. 1\ in. wide. 
 
 Clear and cool in tone, the colouring dry. 
 
 OPIE, R.A. — English School. 
 
 Born 1761. Died 1807. 
 
 OHN OPIE, whose real name was OPPY, was born 
 May 1761, at St. Agnes, near Truro, in Cornwall, 
 where his father was a carpenter, and where it was 
 intended that he should follow the same trade. 
 But he early showed great abilities, was fond of study, and 
 had so great a love for drawing that it was 4 more to him than 
 his daily bread.’ Opie’s endeavours to become an artist so 
 
no 
 
 OPIE. 
 
 angered his father, that he treated him with great severity, and 
 did all in his power to prevent his pursuit of what he considered 
 an unprofitable profession. An uncle, however, noting the lad’s 
 abilities, gave him much encouragement ; and the celebrated 
 Dr. Wolcott procured him several commissions in Truro, and 
 then, taking him to London, maintained him in his own house, 
 and introduced him to Sir Joshua Reynolds. In a short time 
 Opie became so popular that he was spoken of as the * Cornish 
 Wonder,’ and the neighbourhood of Leicester Fields, where he 
 lived, was daily thronged with carriages of the rich and great, 
 awaiting their turn for a ‘ sitting.’ This ‘ terrific popularity/ 
 as Opie termed it, toned down in course of time, and his sitters 
 became less numerous, but he still maintained a good position as 
 a portrait-painter ; and his small historical pieces were con- 
 sidered to have great merit. Opie was made an Associate of 
 the Royal Academy in 1786, and a full member in the following 
 year; and when Fuseli resigned in 1805, he was appointed 
 Professor of Painting in his stead. Opie was a man of much 
 learning ; he wrote many clever articles for the magazines of his 
 time, and delivered four lectures at the Academy, which are 
 remarkable for their fluency and force. Mr. Opie was twice 
 married : from the first wife he was divorced ; the second was 
 the celebrated Amelia Alderson, better known as Mrs. Opie. He 
 died rather suddenly, in the forty-sixth year of his age, on April 
 9, and was buried near Sir Joshua Reynolds, in St. Paul’s 
 Cathedral, April 20, 1807. 1 
 
 No. 3. PORTRAIT OF THE ARTIST. The shoulders are in 
 profile, the face is turned towards the spectator. The face is power- 
 ful, but has a saddened, melancholy air, that seems to accord with the 
 cadaverous method of painting the head. 
 
 On Canvas. 1 ft. 11| in. high ; 1 ft. 8 in. wide. 
 
 1 See Sandby’s History of the Royal Academy , vol. i. p. 195-9. 
 
ADRIAN VAN OSTADE. 
 
 1 1 r 
 
 A. VAN OSTADE,— Dutch School. 
 
 Born 1610. Died 1685. 
 
 DRIAN VAN OSTADE (or OSTADEN, as he 
 signed himself on his earliest works) was born at 
 H arlem, December 1610. H is father, J an H endriks, a 
 weaver, left the hamlet Ostade, near Eindhoven, to 
 settle at Harlem, and there his son became the scholar of Franz 
 Elals. In the year 1662 Adrian was made Dean (senior) of the 
 Guild of St. Luke. In July 1638 he married Machtelgen (Ma- 
 thilda) Pietersen, a young lady of Harlem, who died in September 
 1642. The name of his second wife, who died in 1660, is not 
 known. He died at Harlem in the spring of 1685. 
 
 It was in the school of Franz Hals that Ostade developed 
 his pictorial perception, and that his technical power attained 
 its perfection. He painted with great humour scenes of peasant- 
 life. His earliest pictures had a light blue tone ; later on a 
 yellowish tint pervaded them ; but those painted after the year 
 1640, when he came under the influence of Rembrandt, may be 
 distinguished by their deep, warm, brown colouring, combined 
 with that chiaroscuro so peculiar to Rembrandt. In this his 
 second period, during about twenty years, he generally represents 
 his peasants in contemplative solitude, in family or friendly 
 circles, and in the enjoyment of comfortable quietude. His 
 colouring gets more variegated in his latest period, his light 
 more even and clear, his conception cooler. Amongst his 
 scholars were his brother Isack van Ostade, Cornells Rega, 
 Cornells Dusart, and Michiel van Musscher. 
 
 No. 190. BOORS MAKING MERRY. Three men sitting 
 around a table in a room ; a young one to the right singing and holding 
 up his beer-glass ; an old one playing on a fiddle : these two are seen in 
 profile ; a third, facing the spectator, is singing and smoking behind the 
 table ; a cat to the left. In the back a window and an open door. 
 Whole-length figures. Signed and dated 
 
 o/Ca. Oe /64J 
 
 On Panel. I 0 | in. high ; 8| in. wide. 
 
1 12 
 
 ADRIAN VAN OSTADE . 
 
 A most beautiful and well-preserved specimen of the master, of his 
 best time. The influence of Rembrandt is perceptible in the golden tone 
 of the prevailing chiaroscuro. Mentioned by Waagen. 1 
 
 Engraved by Suyderhoef. 
 
 No. 107 . MAN AND WOMAN IN CONVERSATION. The 
 interior of a room with an open window to the left ; near it a man sittings 
 facing the spectator, with a pipe, and receiving a glass of beer from a 
 woman seated opposite ; she is seen in profile, holding a beer-jug in her 
 left; view of a tree and bushes through the window. Whole-length 
 figures. 
 
 On Panel. 1 ft. 1 in. high ; 10§ in. wide. 
 
 A very good specimen of the later period of the master, and carefully 
 finished in every detail. Desenfans’ Catalogue, No. 75; Smith’s Cata- 
 logue, No. 124. M. Desenfans paid for the picture 105 guineas. 
 
 No. 152 . A MAN SMOKING. Three-quarter length figure,, 
 sitting on a table and turned to the left ; black coat, mantle, and hat. 
 He is lighting his pipe at a chafing-dish, which stands on the table, near 
 a beer-glass. Grey-greenish background. Signed 
 
 On Panel. 6| in. high ; in. wide. 
 
 Painted at about the same period as the former picture. 
 
 No. 73. A WOMAN WITH A JUG. The woman turned to 
 the left, is seated at a table ; she holds in her right hand a glass of beer, 
 and in her left a stoneware jug, which rests on her lap ; she wears a blue 
 apron, brown sleeves, black bodice, white neckerchief and cap ; half- 
 length figure, greyish background. Signed 
 
 On Panel. 6£ in. high ; 5^ in. wide. 
 
 Painted in the master’s latest period ; cool in tone. 
 
 1 Treasures of Art, vol. ii. p. ,343 : ‘ This little picture is of astonishing depth,, 
 clearness, and warmth of colour.’ " „ 
 
O WEN. 
 
 1 x 3 
 
 OWEN, R.A.— English School. 
 
 Born 1769. Died 1825. 
 
 ILLIAM OWEN was born at Ludlow, in Shropshire, 
 in 1769, and educated at the Grammar School there. 
 He was sent to London in 1786 and placed under 
 Cattori. He became a student of the Academy in 
 1791, and exhibited his first portraits in the following year. His 
 portraits were faithful likenesses of his sitters, and usually' very 
 skilfully painted. He occasionally painted genre pictures, but 
 they lacked the harmony and character of his other work. He 
 was elected Associate in 1804, and Academician in 1806. In 
 1810 he was appointed portrait-painter to the Prince of Wales, 
 who in 1813 conferred on him the altered title of Principal 
 Portrait-Painter to the Prince Regent, and added to it the offer 
 of knighthood. He married a Miss Leaf in 1798, by whom he 
 had one son. He first resided in Coventry Street ; he then had 
 a painting-room in Leicester Square, and finally removed to 
 Bruton Street, where he died, from an over-dose of opium, on 
 February ix, 1825. 1 
 
 No. 369. PORTRAIT OF NOEL DESENFANS, Esq. < The 
 original collector of the pictures in this Gallery.’ 
 
 The portrait is a three-quarter view to the left ; white cravat, shirt- 
 ruffles, hair rather short and thin. 
 
 A more refined portrait than Northcote’s. See notice of Desenfans 
 under Northcote, No. 338, p. 107. 
 
 On Canvas. 2 ft. 5^ in. high ; 2 ft. wide. 
 
 1 Sandby’s History of the Royal Academy , vol. i. p. 327-8. 
 
 VtcclsS); 
 
 
 I 
 
Born 1606. Died 1670. 
 
 UAN DE PAREJA was born at Seville in 1606. 
 His parents belonged to the class of slaves then 
 numerous in Andalusia. It is not known whether 
 he came into the possession of Velazquez by pur- 
 chase or by inheritance ; but he accompanied him to Madrid in 
 1623, and remained in his service until he died. He soon 
 acquired an acquaintance with the implements of art, and an 
 ambition to use them. He therefore watched the proceedings 
 of his master and privately copied his works, and as he accom- 
 panied him on his journeys in Italy, he had also an oppor- 
 tunity of becoming acquainted with the works of other great 
 artists. His nature was so reserved that he had reached the 
 age of forty-five years before his master knew that he painted at 
 all. Once when Philip IV. visited the studio of Velazquez, the 
 King’s attention was drawn to a painting done by Pareja, which 
 so pleased the King that he gave him his liberty, but he re- 
 mained with his master until his death (1660). His portrait, 
 painted by Velazquez, is in the Collection of Lord Radnor. 
 Pareja died at Madrid in 1670. 1 
 
 He excelled in portraiture, in which he aimed at following 
 Velazquez. In his historical compositions, however, he took the 
 Venetian and Genoese masters for his moael. 
 
 Ko. 222. BUST OF A BOY. The hoy, about five years of age, is 
 seen in profile, turned to the left, life-size ; long black hair, falling down 
 on his shoulder, brown coat, white collar, hands not visible, dark back- 
 ground. 
 
 On Canvas. 1 ft. 8g in. high ; 10g in. wide. 
 
 1 W. Stirling, Annals of the Artists of Spain (London, 1818), vol ii. pp. 708- 
 711 ; I). Pedro de Madrazo, Catalogo MstoHeo y descHptivo del Masco del Prado 
 de Madrid (Madrid, 1872), pp. 511-512. 
 
JUAN DE PA R E JA — PIJNA CKER. 
 
 H5 
 
 Formerly ascribed to Velazquez, but different in style. There is a 
 large family picture in the Belvedere Gallery at Vienna (VII. No. 14), 
 wherein the same boy is represented as a whole-length figure. It is tra- 
 ditionally ascribed to Velazquez, and said to represent the artist’s family, 
 but Velazquez had only two girls and not so large a family as that re- 
 presented in the picture at Vienna. The real author of this picture 
 was first pointed out by Mr. J. C. Robinson. 1 
 
 PIJNACKER.— Dutch School. 
 
 Born 1621. Died 1673. 
 
 DAM PIJNACKER was born at Pijnacker near Delft 
 in 1621. Neither his family name nor the name of 
 his master is known. He went to Italy, where he 
 remained three years, and died at Delft in 1673. 
 
 He was under the influence of Claude Lorrain in Italy. 
 Besides landscapes he also painted sea-pieces. His pictures are 
 somewhat rare. 
 
 No. 150 . A BRIDGE IN AN ITALIAN LANDSCAPE. To 
 the right, in the foreground, trees and reeds ; to the left, a clear piece of 
 water, crossed by an arched bridge. Three shepherds, one riding on an 
 ass, with cattle, sheep, and goats crossing the bridge. Bushes and moun- 
 tains behind to the right. Clear evening sky. 
 
 On Panel. 1 ft. 4 § in. high ; 1 ft, 8§ in. wide. 
 
 A bright light of a soft effect envelops the scene. Engraved by R. 
 Cockburn. 
 
 No. 130 . LANDSCAPE WITH SPORTSMEN AND GAME. 
 On the left, a. forest ; in the foreground, a boy, richly dressed and blowing 
 a slim hunting-horn ; near him three greyhounds, a dead roebuck, 
 Ac. . A man with hounds, a rider and other figures further back \ an ex- 
 tensive plain in the distance to the right. Evening summer sky. 
 
 On Canvas. 4 ft. 3 1 in. high ; 6 ft. 4 | in. wide. 
 
 Of bright light and clear harmonious colouring. A first-rate work of 
 the master.. The figures treated in a somewhat decorative manner. Pic- 
 tures by Pijnacker of this size are very rare. It was probably destined 
 to be let into the wall of a palace. 
 
 1 J. C. Ptobinson, Memoranda on Fifty Pictures (London, 1868 ), p. 44 . fPri- 
 vately printed.) J r v 
 
 2 
 
VAN POELENBURG. 
 
 1 1 6 
 
 VAN POELENBURG.— Dutch School 
 
 Born 1586. Died 1667. 
 
 ORNELIS VAN POELENBURG or POELEN- 
 BORCH was born at Utrecht in 1586, where he- 
 commenced his studies in the school of Abraham 
 Bloemaert. He afterwards visited Italy and Rome, 
 where he was in 1617, and studied the works of Elshaimer ancP 
 Raphael. 1 On his way home he painted for the Court at Florence 
 and was received with great consideration, when he returned to- 
 his native country, which was before 1649 : tor in that year he was- 
 made principal of the Painters’ Guild at Utrecht. Charles I. 
 invited him to England, but in vain. He died at Utrecht in the- 
 month of August 1667. 
 
 He generally painted small Italian landscapes, which he 
 enlivened with nude figures, sometimes with subjects from? 
 Holy Scripture. N. Berchem occasionally painted the figures in* 
 his pictures, whilst, on the other hand, Poelenburg sometimes 
 painted the figures in the landscapes of J. Both, Willem de 
 Pleusch Alkeirincx, and also in the architectural views of Plem 
 drik van Steenwijck the younger. A. van Cuijlenborch and B. 
 Breenbergh were his scholars. Gerard Hoet and F. Verwilt: 
 imitated him. 
 
 No. M. A SATYR AND A NYMPH DANCING NEAR A 
 WOOD. The satyr, standing to the left, is playing on a tambourine ; the - 
 nymph in the centre, her back to the spectator, is playing the cymbals ; 
 both are nude ; another nymph, sitting on the ground between them, 
 enveloped in a violet mantle, is inciting the two dancers. Behind her 
 a boy ; to the left a dense wood ; to the right, in the background, a 
 pool. Grey sky. Signed 
 
 C? 
 
 On Panel. Elliptical. 1 ft. 2| in. high ; 1 ft. 7f in. wide. 
 
 Very carefully painted; the figures of an enamel-like effect. 
 
 1 Sandrart, Teutsche Academic , cl. 
 
POTTER, 
 
 lJ 7 
 
 POTTER. -Dutch School. 
 
 Born 1625. Died 1654. 
 
 AULUS POTTER, born at Enkhuizen in November 
 1625, received his first instruction from his father, 
 Pieter Simonsz Potter, a landscape-painter, who had 
 married in 1622 Aecht (Agatha) Pouwelsz dr. His 
 family is said to have settled at Amsterdam in 1631. In 1646 
 he was received into the Guild of St. Luke at Delft, and in 1649 
 into that at the Hague. At Delft he lived in a house which 
 .Belonged to the painter Jan van Goyen. He there married 
 Adriana Balckeneijnde in 1650. He went to Amsterdam in 
 May 1652, where he died, when only twenty-eight years of age, 
 and was buried January 17, 1654. 1 
 
 Potter was the greatest Dutch animal painter. He renders 
 the smallest details with the greatest care, and is most true to 
 mature in his representation of cattle and landscape. 
 
 No. 7. (After Paulus Potter.) COWS AND SHEEP. Three 
 • cows and a sheep to the left. One cow rubbing herself against a tree; 
 ■opposite her, a sheep lying on the ground ; another cow lying on the 
 ground ; a third in the centre of the foreground, standing behind with 
 her back turned to the spectator; in the distance to the right a village; 
 ?stormy sky. 
 
 On Panel. 1 ft. 2| in. high ; 1 ft. 8| in. wide. 
 
 The signature 4 Paulus Potter fe.’ on this picture is forged. A clever 
 imitation of this artist. 
 
 No. 22. (After Paulus Potter.) TWO COWS UNDER A 
 TREE. To the right one cow, standing close to the tree, and facing the 
 : spectator; the other lying down ; in the immediate foreground a brook 
 to the left ; a church in the distance ; clear evening sky. 
 
 On Panel. 7 in. high ; 8| in. wide. 
 
 A clever imitation of the master ; probably taken from one of his 
 .-authentic paintings. 
 
 J. van Westrheene, Paulus Potter , sa.vie etsei oeuvres. La Haye, 1867. 
 
G. POUSSIN. 
 
 G. POUSSIN. — Roman School. 
 
 Born 1613 . Died 1675 . 
 
 ASPARD DUGHET, called Gaspre Poussin, or Le 
 Guaspre, was born at Rome in May 1613 . His 
 father, Jacques Dughet, was a Parisian. Gaspard 
 studied painting for three years under the direction 
 cf Nicolas Poussin, who afterwards became his brother-in-law,, 
 and whose name he adopted. He worked at Milan, Perugia. 
 Florence, but chiefly at Rome, where he carefully studied the 
 paintings of Claude le Lorrain. He died at Rome on May 25,. 
 
 1675. 
 
 G. Dughet painted landscapes on canvas and al fresco. 
 Several of his paintings are taken direct from nature ; those 
 chiefly represent views in the neighbourhood of Rome. He is 
 said to have painted with such facility that he used to finish a 
 picture in one day. 
 
 No. 289. THE DESTRUCTION OF NIOBE AND HER 
 CHILDREN IN A LANDSCAPE. In the foreground, Niobe and 
 her children, pierced by arrows ; to the left, high trees ; in the centre, a,, 
 river ; behind it, to the right, rocks with a waterfall ; a village to the left : 
 in the middle distance Apollo and Diana are seen in the air, discharging; 
 their arrows ; evening sky, with a few clouds. 
 
 On Canvas. 3 A high ; 4 ft. 4| in. wide. 
 
 V ery clever, especially in the design of the figures. 
 
 No. 212- A CASTLE IN A WOOD. A castle on a woody hill * 
 a road in the foreground ; on it two figures ; a high tree to the right ; blue 
 sky and some clouds. 
 
 On Canvas. 1 ft. 6 ^ in. high : 1 ft. 2| in. wide. 
 
 Desenfans’ Catalogue, No. 67. 
 
 No. 257. {School of G. Poussin.) A ROCK NEAR A PLAIN. 
 To the right, in the foreground, a pool ; beyond it a rock. In the 
 middle distance, at the foot of the rock, a few houses ; and behind them 
 a plain. The sea beyond in the distance. Figures and cows in the fore- 
 ground ; evening sky, with dark clouds. 
 
 On Canvas. 2 ft. 4| in. high : 3 ft. 2| in. wide. 
 
 Engraved by R. Cockbum. 
 
 A replica of this picture is in the Collection of the Duke of Suther- 
 land at Stafford House. 
 
G. POUSSIN— N. POUSSIN. 
 
 119 
 
 No. 276 . (School of G. Poussin.) A VILLAGE NEAR A 
 LAKE. To the right, a lake ; behind it a village, with a castle ; steep 
 mountains in the background ; to the left, in the foreground, three figures 
 reposing ; another to the right on the shore of the lake ; clear evening 
 sky, with a few clouds. 
 
 On Canvas. 1 ft. 6^ in. high ; 2 ft. f in. wide. 
 
 Considered by Dr. Waagen to be a genuine work . 1 
 
 N. POUSSIN.— French School. 
 
 Born 1594. Died 1665. 
 
 ICOLAS POUSSIN was born at Andelys, in Nor- 
 mandy, in June 1594. After passing through the 
 Latin school, he visited the studio of the painter 
 Quentin Varin, who had settled at Andelys. He went 
 to Paris when eighteen years old, and studied under Ferdinand 
 Elle from Flanders, and under l’Allemand, from Lorraine. He 
 studied with the works of Raphael and Giulio Romano through 
 engravings. After visiting Poitou, Andelys, and Florence, he 
 became acquainted at Laon with the painter, Philip de Cham- 
 pagne, with whom he worked at Paris, under Duchesne’s direction, 
 at the Luxembourg. He went to Rome, the aim of his wishes, 
 in the year 1624, and there became influenced by the Flemish 
 sculptor, Francois Duquesnoy, and Algardi. In 1629 he married 
 Anna Maria Dughet, and lived in Rome on the Monte Pincio, 
 near the studios of Claude le Lorrain and Salvator Rosa. 
 Summoned by Louis XIII., in the year 1640, he returned to 
 Paris, and was appointed ‘ premier peintre ordinaire de sa Ma- 
 jeste,’ in 1641. In the following year he went back to Rome, 
 where he died, November 19, 1665. 
 
 The paintings of Nicolas Poussin recall in their composition 
 the antique reliefs. In conception and execution they show the 
 classical tendency of the master, who combined with it an ele- 
 gance characteristic of the French artist. 
 
 No. 300 . THE INFANT JUPITER SUCKLED BY THE 
 GOAT AMALTHEA. In the centre of the foreground a satyr, hold- 
 
 1 Treasures of Arty vol. ii. p. 317. 
 
'120 
 
 N. POUSSIN. 
 
 ihg the horns of the goat Amalthea suckling J upiter, who lies in the 
 lap of a nymph in a blue drapery ; another nymph, standing behind her, 
 collects wild honey from a tree ; to the right, a fountain-nymph, reclining, 
 and holding an urn ; before her, a boy ; to the left, goats, near a lake ; 
 a hill and blue mountains behind ; blue sky with grey clouds. The 
 scenery is intended to represent the island of Crete. 
 
 On Canvas. 3 ft., 1| in. high ; 3 ft. 10^ in. wide. 
 
 According to the Greek myth, Jupiter was reared by the nymphs 
 Adrastea and Ida in the island of Crete ; the milk of the goat Amalthea, 
 and wild honey, being his nourishment. 
 
 A most important work of the master, conspicuous by its firm and 
 elegant design, and its harmonious colouring. Poussin treated the same 
 subject, but with an arrangement altogether different, in the picture No. 
 467, at the Berlin Gallery. 
 
 Smith’s Catalogue, No. 208, where the picture is erroneously 
 described as representing the 4 Nurture of Bacchus.’ Engraved by 
 /Soyer. Formerly in the possession of M. Blondel de Gagny, by whom it 
 was sold in 1776 for 8,500 francs. 
 
 No. 305. THE TBIUMPH OF DAVID. In the foreground, 
 women and children as spectators ; the triumphal procession passes from 
 the right to the left in front of an antique temple. David, in a red 
 tunic, carries the head of Goliath on a pike, preceded by two trumpeters, 
 and followed by other people. On the platform of the temple men and 
 women saluting the hero ; to the left, a chorus of singing women. 
 
 On Canvas. 3 ft. 10 in. high ; 4 ft. ,9f in. wide. 
 
 A very rich composition, showing great variety in the different 
 faces; very delicate in colouring. Smith’s Catalogue, No. 38. Engraved 
 by Bavenet. Mentioned by Waagen. 1 Formerly in the Earl of Carys- 
 fort’s collection. 
 
 In the following 'pictures the colouring is somewhat heavy in tone 
 and less brilliant than usual with N. Poussin, although the conception is 
 entirely in his style 
 
 No. 291. THE ADOBATION OF THE MAGI. To the left 
 the Madonna, seated, with the infant Christ in her lap, and St. Joseph ; 
 in front of them, the three kings and their suite in adoration ; behind 
 them an antique building in ruins ; with a wooden hut built into it. In 
 the background to the right, the attendants of the kings with horses and 
 camels ; blue sky with grey clouds. A composition of nineteen figures. 
 
 On Canvas. 4 ft. 2 i-n. high ; 4 ft. 4^ in. wide. 
 
 A repetition, or, more probably, an ancient copy of the picture No. 
 423 in the Louvre, which is larger in size (5 ft. 4^- in. high ; 5 ft. 8| in. 
 wide). The original was painted by Poussin in 1653 at Borne, for 
 M. de Mauroy. Engraved by Ant. Morghen for the Musee Frangais, 
 and by Avice. Smith’s Catalogue, No. 56. Mrs. Jameson states that 
 the picture in the Dulwich College Gallery is probably the one which 
 was sold in the Collection of Sir Joshua Beynolds in 1795. 
 
 Treasures of Art, vol. ii. p. 347. 
 
N. POUSSIJV. 
 
 121 
 
 No. 295. INSPIRATION OF ANACREON. To the right the 
 poet, clad in red drapery, kneeling and drinking from a cup, which Apollo 
 presents to him ; the god is nude, his hair adorned with laurels ; at his 
 feet a lyre and a vase ; to the left, the Muse, Euterpe, with the flute; two 
 winged cupids, floating about her and scattering flowers ; another over 
 the poet, carrying two laurel wreaths. In the background, to the right, 
 steep rocks ; blue sky, with grey clouds to the left. 
 
 On Canvas. 3 ft. If in. high ; 2 ft. in. wide. 
 
 No. 310. FLIGHT INTO EGYPT. In the foreground a boat, 
 in it St. Joseph, a ferryman, and an ass. To the left, the Virgin, with 
 the infant Christ, is about to step into the boat ; over the group, four 
 angels, floating above on dark clouds, and carrying a cross. Buildings 
 beyond the river ; a hilly landscape ; to the right, a town wall, an obe- 
 lisk, and a pyramid. 
 
 On Canvas. 3 ft. 8 in. high ; 3 ft. 1 in. wide. 
 
 A representation of this subject was painted by N. Poussin in 1659 
 or 1661 for Madame de Montmor, afterwards de Chantelon. Engraved 
 by Bar tolozzi. Desenfans’ Catalogue, No. 53. Smith’s Catalogue, No. 
 86. Sold to M. Desenfans in 1801 for 160 guineas. 
 
 No. 315. RINALDO AND ARMIDA. In the foreground to 
 the right, Rinaldo in armour, sleeping under a group of three trees, the 
 trunks of which are alone visible ; Armida, in blue and white drapery, 
 bends over him, a dagger in her right hand, whilst Amor holds back her 
 right arm. To the left, in the middle distance, a river, and a hill beyond ; 
 evening sky. 
 
 On Canvas. 2 ft. in. high ; 3 ft. 6 in. wide. 
 
 See Tasso, ‘ Jerusalem Delivered,’ canto xvii. 
 
 Armida, having undertaken to vanquish Rinaldo, first lays him to 
 sleep by her enchantments, and then approaching, is about to lift her 
 poniard, when the charms of the youthful warrior cause a sudden revul- 
 sion of feeling : 
 
 E di nemica, ella divenne amante. 
 
 Engraved by J. Audran. Smith’s Catalogue, No. 286. 
 
 No. 336. THE TRANSLATION OF A FEMALE SAINT IN 
 A LANDSCAPE. Bushes in the foreground ; in the middle distance 
 a mountain town with many towers ; before it a waterfall ; steep rocks 
 in the background ; above, dark clouds, on which a female Saint is 
 seated with outstretched arms ; blue garment, red mantle, white head- 
 dress. 
 
 On Panel. 1 ft. 7 in. high ; 1 ft. 2f in. wide. 
 
 Formerly called 4 The Assumption of the Virgin.’ The Saint repre- 
 sented here is either St. Mary of Egypt (?) or Mary Magdalen. 
 
 Engraved by R. Cockburn. Mentioned by Waagen. 1 
 
 1 Treasures of Art, vol. ii. p. 348. — ‘No. 1. The Assumption of the Virgin. A 
 beautiful poetical landscape, with the Virgin carried up on clouds tinged with 
 gold. A small picture, noble and pure in feeling, powerful and clear in colouring.’ 
 
122 
 
 N. POUSSIN. 
 
 The following 'pictures are productions by unknown scholars or 
 imitators of JT. Poussin : — 
 
 No. 115 . THE INFANT BACCHUS BEAKED BY SATYBS. 
 In the centre, Bacchus, as a boy, sitting drinking wine, out of a tazza, 
 which a satyr presents to him ; another supports his back ; a nymph stands 
 behind. To the right, a cupid, with a goat ; to the left, two boys embrac- 
 ing each other ; trees and a river in the background ; dark cloudy sky. 
 
 On Canvas. 2 ft. 4| in. high ; 3 ft. 2| in. wide. 
 
 Smith’s Catalogue, No. 207. 
 
 A replica or a copy of the picture No. 39 in the National Gallery. 
 
 No. 142 . LANDSCAPE. To the right, a river, with a boat ; 
 behind it, a village and rocks ; figures in the foreground ; a small chapel 
 is prominent on the declivity of a rock ; blue mountains in the dis- 
 tance ; cloudy sky. 
 
 On Canvas. 1 ft. 9| in. high ; 3 ft. ^ in. wide. 
 
 No. 249 . HOLY FAMILY. To the right, the Madonna, seated, 
 with the infant Christ in her lap ; to the left kneels St. Elizabeth, hold- 
 ing the infant St. John on her knees; St. Joseph, in prayer, standing 
 behind the group. Bocky landscape, with buildings, in the background ; 
 blue sky, with grey clouds. 
 
 On Canvas. 2 ft. 1^ in. high ; 1 ft. 6|- in. wide. 
 
 No. 253 . THE ANGELS APPEALING TO ABBAHAM. 
 In the centre, the three angels standing robed in tunics ; on the left, 
 Abraham kneeling ; two buildings in the background. Sarah stands at 
 an open door ; hilly landscape to the right. Dark sky. 
 
 On Canvas. 2 ft. in. high ; 2 ft. 10 in. wide. 
 
 No. 260 . A BOMAN BOAD. High trees in the foreground ; 
 the road occupies the centre of the picture ; in the middle distance;, 
 to the right, a pool ; behind it a few buildings, with a high tower ; a 
 village and mountains in the centre of the distance ; blue evening sky, 
 with grey clouds. A man and a woman reposing in the foreground to 
 the right ; others on the road. 
 
 On Canvas. 2 ft. in. high ; 3 ft. 3 in. wide. 
 
 Smith’s Catalogue, No. 310. A picture by N. Poussin, representing 
 this subject, was painted in 1650 for M. Passart, Secretary of State. 
 
 Engraved by Cockburn. Mentioned by Waagen. 1 
 
 No. 279 . A MOUNTAINOUS LANDSCAPE. Steep rocks 
 sloping to the left, and overgrown with bushes ; high trees ; a piece of 
 water, where a figure is stooping to drink. Two other figures behind ; a 
 distant view to the left ; cloudy sky. 
 
 On Canvas. 1 ft. 7 in. high ; 2 ft. 7 in. wide. 
 
 1 Treasures of Art, vol. ii. p. 348. — <A landscape very pleasing for its beautiful 
 lines and the deep feeling for nature here shown.’ 
 
N. POUSSIN. 
 
 T2 
 
 Engraved by Baudet. 
 
 Considered by Mrs. Jameson to be the original, which was painted 
 about the year 1650 for M. Passart. 
 
 No. 292 . FISHERMEN NEAR A ROCKY GATEWAY. 
 In the foreground two men fishing near a pool; beyond, a gateway 
 formed by rocks, and overgrown with bushes ; blue mountains in the 
 distance ; cloudy evening sky. 
 
 On Canvas. 1 ft. 7 in. high ; 2 ft. 1 * in. wide. 
 
 No. 316 . VENUS AND MERCURY IN A WOOD. To the 
 right, Venus, undraped, reclining, roses in her left hand, a blue drapery on 
 the ground ; near her Mercury sitting. The caduceus, a lute, a palette, 
 music-book, and rolls of ‘MS. lie about on the ground ; to the left, an 
 Amor fighting with a Satyr ; in the background below, trees, and the 
 car of Venus. 
 
 On Canvas. 2 ft. 6f in. high ; 2 ft. 9^ in. wide. 
 
 Engraved by Clarus. 
 
 No. 325 . JUPITER AND ANTIOPE. To the left, the nymph 
 sleeping ; behind her Jupiter, a finger on his mouth ; to the right, two 
 Cupids near a goat ; two others above, holding a drapery ; trees in the 
 background. 
 
 On Canvas. 2 ft. 2| in. high ; 1 ft. 7 \ in. wide. 
 
 Formerly in the Calonne Collection. 
 
^^AFFAELLO (RAPHAEL) ISANTI, or SANZIO, 
 was born at Urbino, April 6, 1483. His father, Giovanni 
 
 Santi, a painter, gave him his first instruction ; he 
 died when Raphael was only eleven years old (1491). 
 Various circumstances seem to warrant the conclusion that the 
 Umbrian artist, Timoteo Viti, who painted in the churches of 
 Urbino in 1494 and 1495, directed Raphaels studies. In the year 
 1505 he went to Perugia and entered thfc studio of Perugino ; 
 thence he removed to Florence for a short time, but returned to 
 Perugia in 1 505 to paint the frescoes in the church of San Severo. 
 In the same year he was commissioned by the nuns of the Con- 
 vent of St. Anthony to paint an altar-piece. Until the year 
 1508 Raphael lived partly at Florence and partly at Perugia 
 and Urbino ; he was then summoned to Rome, where he was 
 occupied chiefly at the Vatican. He died there April 6, 1 520. 
 
 Three periods in Raphael’s style are to be distinguished : the 
 Peruginesque, until about the year 1504, the Florentine, and the 
 Roman. 
 
 No. 806 . ST. ANTHONY OF PADUA. The Saint, barefooted 
 and wearing a grey-hooded habit, stands on a light reddish-brown floor. 
 ITe is represented facing the spectator, holding a stem of lilies in his right 
 hand, and a book bound in blue in his left ; dark background. 
 
 On Panel. 9i in. high ; 6^ in. wide. 
 
 No. 307 . ST. FRANCIS OF ASSISI. The Saint holds a small 
 cross in the right hand ; both hands are placed on a red book. On his 
 breast, the Stigma, which proves the figure to be St. Francis of Assisi. 
 Dark background. 
 
 On Panel. 9^ in. high ; 6^ in. wide. 
 
 I 11 arrangement, similar to No. 306, of which it is the companion. 
 
 The altar-piece of the Convent of St. Anthony at Perugia, of which 
 both these pictures originally formed portions, was painted by Raphael 
 at Perugia in the year 1505 ; it was composed of the following seven, 
 panels, now dispersed, but all in England. 
 
RA PH A EL— REM BRA ND T. 
 
 12 5 
 
 (a.) The Virgin enthroned; on her lap, the infant Christ, blessing the 
 boy St. John, who stands to the right ; around the throne, St. Peter, St. 
 Paul, St. Catherine, and St. Dorothy. 
 
 (b.) The Eternal Father blessing, adored by two Angels. 
 
 These two pictures, forming the principal parts of the altar-piece, were 
 formerly in possession of the King of Naples, and are at the present time 
 deposited in the National Gallery. 
 
 (c.) St. Francis, No. 307 of the Dulwich College Gallery. 
 
 (d.) Christ on the Mount of Olives, kneeling, and turned to the right. 
 An angel descending towards Him ; in the foreground, the three dis- 
 ciples sleeping. Now in possession of the Baroness Burdett-Coutts. 
 
 (e.) Christ bearing the Cross, followed by two men on horseback, and 
 accompanied by an executioner and two soldiers ; to the right, the Virgin 
 fainting ; St. John and three women near her. Now in possession of 
 Sir William Miles, of Leigh Court, near Bristol. 
 
 (f.) The Pieta. Christ dead, lying on the knees of His mother, 
 adored by St. John and Mary Magdalene. Now in Mrs. Dawson’s 
 possession. 
 
 (g.) St. Anthony of Padua, No. 306, in the Dulwich College 
 Gallery. 
 
 The figures of the two Saints, although partly injured, show clear 
 traces of Raphael's manner of painting, especially in the draperies, in the 
 modelling of the hands and feet of St. Francis, and in the bright colour- 
 ing of the floor. 
 
 The impasto of the flesh parts is exactly the same as in the contem- 
 poraneous pictures, ‘ The Vision of a Knight,’ at the National Gallery, 
 and ‘ The Three Graces,’ at Dudley House. 
 
 REMBRANDT. — Dutch School. 
 
 Born 1607. Died 1669. 
 
 REMBRANDT HARMENSZ VAN RIJN was bom 
 at Leyden on July 15, 1607. His father, a miller, 
 had married, in 15S9,. Neeltgen Willems dr. van 
 Zuijtbrouck, daughter of a baker. After leaving 
 the Latin school, Rembrandt studied under Jacob van Swa- 
 
126 
 
 REMBRANDT. 
 
 nenburgh at Leyden for three years. He then went to Am- 
 sterdam and frequented the studio of Pieter Lastman for six 
 months. In 1624 he settled at Leyden ; his earliest signed I 
 works are dated 1627. In 1630 he returned to Amsterdam, and 
 remained there until his death. On June 22, 1634, Rembrandt 
 married his first wife, Saskia van Ulenburgh, daughter of the 
 minister, Rombertus van Ulenburgh. She died in 1642, and 
 Rembrandt’s circumstances from that time changed for the 
 worse, in spite of the great success in his career and numerous 
 pupils who were apprenticed to him. He was declared insolvent 
 in the year 1656, and, in consequence of this, his house and 
 property were sold. In later years he married again twice, and 
 died at Amsterdam in October 1669. 
 
 Rembrandt was very slightly influenced by his masters ; his 
 art rests entirely upon his own genius, and with him Dutch art 
 attained its height. He gave the greatest artistic perfection to 
 chiaroscuro, in applying it chiefly for the modelling of the human 
 forms, thus enhancing their pictorial effect, and at the same time 
 imparting through it a refined expression to internal life. His 
 principal works are the ‘Anatomical Lecture’ (1632), the so- 
 called ‘ Night-watch ’ (1642), and the ‘Syndics’ (1661). 
 
 No. 189. BUST OF A YOUNG MAN. Turned a little to the 
 left, the face seen in full, long fair hair, black mantle, white frilled collar, 
 short mustachio ; but hands not visible. Greyish background. 
 
 Signed and dated 
 
 svaH Tbmt' 
 
 On Panel. 11 in. high ; 9|- in. wide. 
 
 A well-preserved picture, of a lively and pleasant conception, and 
 carefully executed in that style, which Gerard Dou adopted as a model, 
 when he was a scholar of Rembrandt. It seems quite inexplicable that 
 Dr. Waagen doubted its authenticity. 
 
 No. 206. A GIRL AT A WINDOW. Half-length figure of a 
 girl, life-size, about eight years of age, turned to the left, leaning on the 
 stone sill of a window ; the face seen in full, auburn hair, white shirt. 
 
REMBRANDT. 
 
 127 
 
 & gold chain round the neck and in the hair ; a wall forms the back- 
 ground. Signed and dated 
 
 On Canvas, elliptical top. 2 ft. 7§ in, high ; 2 ft. 1 in. wide. 
 
 Engraved by F. L. Geyser, Surugue, Say. 
 
 Smith’s Catalogue, No. 532 and 171. 
 
 Collection Robit, 1801, 2,500 francs. Collection C. Hilbert, 1829, 
 
 Am. 
 
 Mentioned by C. Vosmaer. 1 
 
 Formerly called ‘ Portrait of Rembrandt’s Servant-maid ; ’ this title 
 was given to it by mere caprice, and was not traditional, the picture 
 having originally been simply described as ‘A Cirl at the Window.’ 
 This subject has very often been treated also by the scholars of Rem- 
 brandt. 
 
 Dou represented the girl with a candle in her hand ; Yictor, with her 
 hand on the chain of the shutter ; Bol, holding a pear, in his well-known 
 etching ; Koninck and Maes in other and different attitudes. 
 
 The features of the girl in this picture are very similar to those of 
 Rembrandt. It may therefore be considered as the portrait of one of his 
 relations. 
 
 No. 282 . (School of Rembrandt.) PORTRAIT OF A YOUNG 
 MAN. Turned to the left, the head in front, long fair hair, short mus- 
 tachio, about twenty-five years of age ; black cap, white undergarment, 
 reddish-brown coat lined with fur ; hands not visible ; dark background. 
 
 On Canvas. 2 ft. in. high ; 2 ft. wide. 
 
 Of staring expression, not well preserved. Painted by an inferior 
 scholar or imitator of Rembrandt. 
 
 No. 179 . (School of Rembrandt.) JACOB’S DREAM. To the 
 left, Jacob sleeping on the ground near a tree ; a dark mountain in the 
 distance ; above, two angels, one standing on clouds, the other descend- 
 ing towards J acob. 
 
 On Canvas. 2 ft. If in. high ; 1 ft. 9| in. wide. 
 
 1 Rembrandt , sa vie et ses oeuvres (La Haye, 1877), pp. 263, 538. 
 
128 
 
 RENT. 
 
 The want of transparency in the colouring, and the flat modelling of 
 the figures and trees clearly show that this picture was not painted by 
 Rembrandt himself. 
 
 RENI. — Bolognese School. 
 
 Born 1575. Died 1642. 
 
 UIDO RENI was born at Calvenzano, near Bologna, 
 November 4, 1 575. His father, Daniele Reni, placed 
 him in the painting school of Denis Calvaert (of 
 Antwerp), then settled at Bologna. When twenty 
 years of age he entered the school of the Carracci, where he was 
 an apprentice and where he worked at the same time as a pupil. 
 He also imitated Caravaggio. He travelled several times to 
 Rome, where he studied Raphael and antique art, executing at 
 this period a great number of pictures. In the year 1622 he 
 was summoned to Naples, in order to decorate the chapel of 
 St. Januarius, but soon gave up his work in consequence of the 
 intrigues carried on against him by the members of the Nea- 
 politan painting school ; he returned to Bologna, where he died 
 August 18, 1642, after experiencing many misfortunes in his old 
 age. 
 
 Guido Reni is the most renowned Italian master of the 
 seventeenth and eighteenth centuries. His pictures painted at 
 Rome are especially attractive, owing to their clear and silvery 
 tone, to the cool colouring and the great aesthetic feeling-pre- 
 vailing principally in the heads of his female figures, which were 
 modelled after the antique, generally after the statues of the 
 Niobides (discovered near Rome in 1583). 
 
 No. 381. ST. JOHN PREACHING IN THE WILDERNESS. 
 Life-size figure, about twenty years of age ; nearly nude, sitting on a rock ; 
 grey-coloured drapery round the hips ; the right arm lifted up, the left 
 holding a cross of reeds. In the distance, to the left, a group of eight 
 figures ; a wood in the background ; cloudy sky. 
 
 On Canvas. 7 ft. 3 |- in. high ; 5 ft. 2 in. wide. 
 
 Bought by M. Desenfans from Mr. A. Wilson for 1,000 guineas.' 
 
 Engraved" by R. Morghen (?) 
 
 Painted d la privia, harmonious in tone, and of very spirited execu- 
 tion. According to Malvasia, ‘Felsina Pittrice,’ iv. pp. 31, 90-91, there 
 were three representations of this same subject by Guido Reni — one in the 
 
RENT. 
 
 129 
 
 possession of the Duke of Modena, a second in the Palazzo Colonna at 
 Rome, and a third in the Palazzo Spinola at Genoa. It cannot be ascer- 
 tained whether the above-described picture is one of those mentioned by 
 Malvasia. 
 
 ‘ There is a fine landscape in the background, with some clever little 
 figures at a great distance. The superhuman expression of John uttering 
 his prophecies is most admirable, and his body most nobly painted. His 
 mouth is painted with peculiar beauty and elegance, open/ — Constable’s 
 * life and Letters,’ vol. i. p. 107. Letter, dated March 1807, from A. G. 
 Hunter to Constable. 
 
 Ho. 280 . DEATH OF LUCRETIA. Half-length figure, life-size, 
 facing the spectator ; with her right hand she pierces her uncovered breast 
 with a dagger, whilst her head is turned aside, with a painful expression. 
 White under-garment, red-brown mantle, brown ribbon in the hair. 
 Dark green curtain in the background. 
 
 O 11 Canvas. 3 ft. 2^ in. high ; 2 ft. 4J in. wide. 
 
 Painted under the influence of Caravaggio. 
 
 Ho. 259 . (After Guido Reni.) EUROPA RXDIHG OH THE 
 DULL. Three-quarter length figure, life-size, seen in front ; white low 
 dress, yellowish mantle ; Europa puts her right arm round the neck of 
 the bull, whose head and neck are wreathed with flowers ; below, the 
 sea ; blue sky. 
 
 On Canvas. 3 ft. 8^ in. high ; 2 ft. 10 in. wide. 
 
 The subject is taken from Ovid’s 4 Metamorphoses.’ 
 
 Engraved by Bartolozzi. 
 
 Desenfans’ Catalogue, Ho. 5. 
 
 According to Malvasia, ‘Felsina Pittrice,’ iv. p. 41, the original was 
 .■sent to Venice. 
 
 Humerous galleries possess copies of it. The specimen in the Dulwich 
 College Gallery corresponds entirely with that in the Hermitage Gallery 
 at St. Petersburg . 1 
 
 Ho. 339 . (After Guido Reni.) ST. SEBASTIAH. Hearly whole- 
 length figure, life-size, facing the spectator ; a narrow white scarf round 
 the hips 3 the hands behind his back tied to a tree, the head lifted up- 
 wards 3 an arrow near his left hip 3 to the right, in the distance, four 
 soldiers 3 a barren landscape 3 dark sky. 
 
 On Canvas. 5 ft. 6 in. high ; 4 ft. 3 in. wide. 
 
 Desenfans’ Catalogue, Ho. 3. 
 
 Said to have been formerly in the Palazzo Barberini. 
 
 In the imperfect modelling of the figure and in the strong contrast of 
 light and shadow, which is wanting in harmony, the handling of a scholar 
 is perceptible. 
 
 Ho. 332 . ( School of Guido Reni.) HEAD OF MARY MAG- 
 DALEH. The face seen in full, the eyes turned upwards 3 a blue mantle, 
 red dress, and brown headdress 3 dark grey background. 
 
 On Canvas. Circular. 1 ft. 7 in. diameter ; originally elliptical. 
 
 1 Engraved by Podolonsky in La Galerie de V Hermitage, vol. ii, pi. 75, p. 83~ 
 
RENT— RE YNOLDS. 
 
 330 
 
 No. 267. ( School of Guido) ST. JEROME KNEELING. The- 
 Saint is covered only with a red mantle ; this colour characterizing his 
 position as a Cardinal. He is turned to the right, and kneels before a 
 rock, on which he rests his arms ; before him, a large open book and a 
 crucifix ; rocks and bushes in the background. 
 
 On Copper. 7 f in. high; in. wide. 
 
 REYNOLDS. 
 
 Born 1723. Died 1792. 
 
 IR JOSHUA REYNOLDS was born at Plympton,. 
 in Devonshire, July 1 6 , 1723. His father was Rector 
 of St. Mary’s, and Head-Master of the Grammar 
 School. When a mere child, Reynolds showed a 
 decided taste for painting, and read with avidity all books relat- 
 ing to art. He was accordingly, when in his eighteenth yeai\ 
 placed with George Hudson, the most famous portrait-painter of I 
 that time, who set him to copy Guercino’s drawings. After 1 
 leaving Hudson, Reynolds studied for a short time under William j 
 Gandy, of Exeter, and then set up for himself as a painter at 
 Plymouth Dock, but his father dying in 1746, he returned to 
 London, and took up his abode in St. Martin’s Lane. In 1749 
 he accompanied Commodore Keppel to Italy, where he remained 
 three years, visiting all the principal cities in his pursuit of art. | 
 It was while studying in the Vatican that he caught the cold. , 
 which left him deaf for the remainder of his life. On his return 
 to England, Reynolds again occupied the house in St. Martin’s 
 Lane ; but his reputation and income having rapidly increased, 
 he purchased No. 47, Leicester Fields. The establishment of 
 the Royal Academy, in 1768, placed him at the head of the 
 artists of England ; he was unanimously elected President, and 
 knighted by George III. His zeal for the advancement of the 
 Fine Arts induced him to deliver a course of fifteen lectures on 
 Painting, which have since been translated into several languages,, 
 and are too well known to need comment. To show their ap- 
 preciation of his merit, the University of Oxford created him 
 Doctor of Civil Law in 1773 ; and ten years after, on the death 
 of Allan Ramsay, Sir Joshua was appointed principal painter to 
 the King ; and his prices rising with his reputation, he now re- 
 ceived as much as seven or eight hundred guineas for a portrait. 
 
REYNOLDS. 
 
 13 * 
 
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 311 
 
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 The picture of the * Infant Hercules Strangling the Serpents/ 
 painted for the Empress of Russia, cost 1,500/., and the Empress 
 added the gift of her own likeness set in a gold box, encircled 
 with diamonds. Sir Joshua’s industry and energy never flagged ; 
 he worked until the failure of his sight obliged him to relinquish 
 his pencil in 1789, and from that time his health gradually de- 
 clined. He died February 23, 1792, leaving the bulk of his 
 property, 80,000/., to his favourite niece, Mary Palmer, afterwards 
 Marchioness of Thomond. Sir Joshua’s body lay in state at 
 Somerset House, in the great room of the Royal Academy, and 
 he was buried in the crypt of St. Paul’s Cathedral, with the 
 honours due to his worth and genius. He died unmarried. His 
 statue, by Flaxman, stands under the dome of the Cathedral. 
 
 No. 138 . A SKETCH. A knight in armour, bareheaded, and 
 mounted on a grey horse, prances across the picture. Apparently a 
 skirmish is going on, from an appearance of smoke. A dark sky. 
 
 On Canvas. 2 ft. 6^ in. high ; 2 ft. wide. 
 
 On the back of the portrait of Sir P. F. Bourgeois, by Sir William 
 Beechey, No. 356, is a sketch by Sir Joshua Reynolds. It represents a 
 mother bending over her child, which lies in her lap. 
 
 No. 143 . A MOTHER AND HER SICK CHILD. On the 
 right, the mother, in a brown dress, dark blue-grey headpiece, which 
 trails on to the floor, sits at the edge of a bed, and has a sick girl in her 
 night-dress, low at the shoulders, in her lap. The drapery of the bed is 
 dark brown-grey. A footstool, two books, and a phial of medicine are 
 on the floor. The mother’s face is turned with a somewhat frightened 
 expression towards the left, where, in the i palpable obscure,’ we see a 
 supernatural vision of an angel in wings, who is driving away a ghastly 
 figure of Death, who holds a sickle in his right hand, and cowers as he 
 defends himself with his left. 
 
 On Canvas. 2 ft. 2-| in. high ; 2 ft. lOf in. wide. 
 
 The mother is said to have been painted from Kitty Fisher, for notice 
 of whom, see Leslie and Tom Taylor’s • Life of Sir Joshua Reynolds,’ 
 vol. i. p. 163, note. 
 
 No. 146 . PORTRAIT OF HIMSELF. Fresh shaven face, pow- 
 dered hair, spectacles, ruffle shirt, grey-green velvet coat. 
 
 On Canvas. 2 ft. in. high ; 2 ft. ^ in. wide. 
 
 A duplicate of the portrait in the Royal Collection. 
 
 Engraved by Caroline Watson, in Malone’s * Life of Sir Joshua 
 Reynolds.’ 
 
 No. 254 . DEATH OF CARDINAL BEAUFORT. The figure 
 turns over on its pillow towards the spectator ; the left arm is outside 
 
132 
 
 REYNOLDS. 
 
 the coverlid ; the figure to the left stands and watches the hideous ex- 
 pression of the death agony on the face. 
 
 On Canvas. 4 ft. 4| in. high ; 5 ft. 5| in. wide. 
 
 This is a sketch from the great picture at Pet worth, painted for the 
 Shakspeare Gallery in 1790. The finished picture contains the fiend, 
 waiting at the death-bed, and was engraved by Caroline Watson. 
 
 Henry Beaufort, half-brother to Henry IY. of England, was left 
 guardian to the son of Henry Y. by the will of that King, who died on 
 the last day of August 1422. The regency of the kingdom of England was 
 entrusted to Humphrey, Duke of Gloucester. Between the two there was 
 a constant struggle for power. In 1427 the Pope made Beaufort a Car- 
 dinal, and Gloucester strongly urged his exclusion from the Council on 
 the ground that he was a foreign prince. Beaufort, however, recovered 
 the loss of influence this promotion cost him, and raised men and money, 
 with the King’s permission, to act against the Hussites in Bohemia. 
 This force was employed ultimately against the King’s enemies in France, 
 where Joan of Arc had raised the siege of Orleans, and was conveying 
 Charles to be crowned at Bheims. On account of this diversion of the 
 contingent raised for the Church’s uses, it was believed that the Cardinal 
 died of remorse, and this is the view of Shakspeare, in the play of 
 4 Henry YI.’ : — 
 
 4 See how the pangs of death do make him grin ! 
 
 Lord Cardinal, if thou think’st on heaven’s bliss, 
 
 Hold up thy hand, make signal of thy hope. — 
 
 He dies, and makes no sign ! — 0 God, forgive him ! ’ 
 
 — Henry VI part ii. act 3. 
 
 But there is good ground for distrusting this belief, as a witness of his 
 death gives details that he called the clergy of his cathedral to his house, 
 4 caused requiems to be chanted for his departing soul, ordered his will to 
 be read aloud and some corrections to be made in it, and finally took a 
 solemn farewell of his friends.’ He died April 11, 1448. 
 
 Ho. 285. THE PROPHET* SAMUEL. A curly chestnut-haired 
 bey, with bare shoulders, stands in profile facing towards the left. His 
 right hand is advanced, his left is engaged in holding together his white 
 under-drapery ; over both arms a dark brown mantle is passed. 
 
 The idea seems to embody the awakening prophet, just as he answers 
 the supernatural voice. 
 
 On Canvas. 2 ft. 5£ in. high ; 2 ft. wide. 
 
 No. 340. MBS. SIDDONS AS THE TRAGIC MUSE. She 
 sits in an arm-chair, in front view, and looks up towards the left. One 
 arm rests on the chair ; the other, the left, rests on the chair-arm on its 
 side, by the elbow only, as the hand is raised, as if listening to some 
 inspiring voice ; head and hair wreathed in pearls. An amber-brown 
 dress, with the bodice hung round with pearls, sits loosely at the 
 shoulders. The white sleeves of the under-dress are seen beneath. A 
 dark-olive velvet cloak envelops the knees ; her feet on a footstool. All 
 in the midst of clouds. The genius of the bowl is on the right, bringing 
 his cup ; on the left, a genius, with the dagger of Tragedy, lolls against 
 
RE YNOLDS. 
 
 133 
 
 the back of the chair. Signed, and dated ‘1789/ on the edge of the 
 
 robe. 
 
 On Canvas. 7 ft. 9 in. high ; 4 ft. 9 in. wide. 
 
 Engraved by Hayward. 
 
 The subject of this picture, Sarah Siddons, was the daughter of Roger 
 Kemble, manager of an itinerant company, and was born at Brecknock 
 in 1755. She commenced her career as a singer, but soon attempted 
 tragedy. She married Mr. Siddons in her eighteenth year, and she and 
 her husband played in Liverpool and other places, gaining reputation and 
 profit. In 1775 she tried her powers in London, but was unsuccessful. 
 She then went to Bath, and with time, study, and practice, so matured 
 her great powers, that when she appeared in London again, in 1782, her 
 success was complete. In 1801, she transferred her talents to Covent 
 Garden Theatre, and retired from the stage with a large fortune in 1812. 
 She played only once again in London, in 1816, for her brother’s benefit; 
 and for a few nights in Edinburgh, to assist her widowed daughter-in- 
 law. Mrs. Siddons possessed every personal and acquired character ne- 
 cessary to success in the high walk of art she aspired to, and while in the 
 meridian of her splendid career, brought surpassing intellectual powers 
 and perfect dignity of acting to her work. She died in 1831. 
 
 It is related in the ‘ Life of Sir Joshua Reynolds,’ by Leslie and 
 Taylor, that ‘ Mr. Russell, author of the “History of Modern Europe,” 
 had sung her praises under the title of “ The Tragic Muse ” ’ before she 
 left London. His verses are forgotten, but they may have suggested to 
 Reynolds the subject of his picture. The sittings were probably given in 
 either April or September in 1783, and continued into the spring of 1784, 
 in the Exhibition of which year this, the finest example, probably, of 
 truly idealised portraiture, was exhibited, in which we have at once an 
 epitome of the sitter’s distinction, calling, achievement, and the loftiest 
 expression of which the real form and features are capable. In the quality 
 of colour, as far as the head, bust, and arms are concerned, the picture 
 ranks with the very finest of the master, and is in perfect preservation. 
 The drapery has a rich sobriety of colour, and even a Rembrandtesque 
 quality in its brown ; but most eyes really trained to fine appreciation 
 would desiderate, I think, a low-toned Venetian splendour for the 
 sweeping pall of sceptred Tragedy. On the stateliness of the action, and 
 loftiness of the expression — ‘ the rapt soul sitting in the eyes ’ — it is 
 unnecessary to dilate. 
 
 The conception of this noble work was no doubt suggested by Michael 
 Angelo’s Isaiah. 
 
 Mrs. Siddons told Mr. Phillips ‘ that it was the production of pure 
 accident. Sir Joshua had begun the head and figure in a different view; 
 but while he was occupied in the preparation of some colour, she changed 
 her position, to look at a picture hanging on the wall of the room. When 
 he again looked at her, and saw the action she had assumed, he requested 
 her not to move ; and thus arose the beautiful and expressive figure we 
 now see in the picture.’ 
 
 This may be strictly true of the position of the head ; but the up- 
 raised arm is that of the Prophet, and the two attendant figures prove 
 that Reynolds thought of the Sistine Chapel. These figures are called by 
 some Pity and Terror, and by others Pi^y and Remorse, but more like 
 Crime and Remorse. One bears a bowl, the other the dagger of Tragedy, 
 
134 
 
 RE Y MOLDS. 
 
 and there is nothing of pity in the expression or action of either. Sir 
 Joshua painted the head of one of these figures from his own, and the 
 study is in possession of Mr. W. Mayor. 
 
 There is another anecdote extant on the subject of this picture. 
 According to Mrs. Jameson, Mrs. Siddons used to describe Sir Joshua as 
 taking her by the hand, and leading her up to the platform, with the 
 words : ‘ Ascend your undisputed throne ; bestow on me some idea of the 
 Tragic Muse.’ On which she said : 1 I walked up the steps, and instantly 
 seated myself in the attitude in which the Tragic Muse now appears/ 
 Perhaps the two stories may be reconciled, if we suppose that the attitude 
 was the same as regards the arms, the turn of the head and body being 
 afterwards changed, as described to Mr. Phillips. Sir Joshua inscribed 
 his name on the border of her drapery (as he had done on that of Lady 
 Cockburn), saying : ‘ I could not lose the honour this opportunity afforded 
 me of going down to posterity on the hem of your garment.’ Once, when 
 looking at the picture at Grosvenor House, Mrs. Siddons told the Lev. 
 John Sandford that Sir Joshua intended to work considerably more on 
 the face. When he told her this, on her rising from her last sitting, she 
 answered that she thought it could not be improved. On his showing 
 her the finished picture, he said he had taken her advice, and had not 
 touched on the face since she last sat for it. 
 
 * The original picture was bought by M. de Calonne for 800 guineas. 
 At the sale of his pictures in 1795 the “ Tragic Muse ” passed into the 
 hands of W. Smith, Esq., M.P. for Norwich, for 700£ From him Mr. 
 Watson Taylor purchased it for 900£, and at his sale in 1822 it was 
 bought by the first Marquis of Westminster for 1,760 guineas. There is 
 an excellent replica of the picture at Langley Park, Stowe, the seat of 
 Mr. Harvey, M.P., given by Sir Joshua to Mr. Harvey’s grandfather in 
 exchange for a large boar-hunt by Snyders, which Sir J oshua admired, 
 and which used to hang in the place now filled by the “ Tragic Muse.” 
 This is certainly the finest example of the picture after the original in the 
 Grosvenor Gallery. The Dulwich replica (which is the one marked in 
 Sir Joshua’s account as sold to M. Desenfans in June, 1789, for 73 5£.) is 
 inferior, and, according to Northcote, was painted by Score, then one of 
 Sir Joshua’s assistants. There is a replica (including only the upper 
 part of the figure) in the possession of Mrs. Combe, of Edinburgh ; and 
 another, a full-length, in Lord Normanton’s Gallery, of the history of 
 which I am not informed.’ 1 
 
 See also an extract from a MS. journal of Miss C. Fanshawe, in the 
 Appendix, p. 646, of the same volume, for an account of an interview 
 the writer had with Mrs. Siddons, in which Mrs. Siddons said that she 
 did not think Sir Joshua painted the duplicate now in possession of Lord 
 Grosvenor. 1 The original is at Dulwich College.’ 
 
 1 Xife of Sir Joshua Reynolds , by Leslie and Taylor, vol. ii. p. 424, note. 
 
RIBERA. 
 
 135 
 
 RIBERA. — Neapolitan School. 
 
 Born 1588. Died 1656. 
 
 USEPE DE RIBERA, called SPAGNOLETTO, 
 was born at Jativa (now San Felipe), near Va- 
 lencia, in Spain, January 12, 1588. After receiving 
 early artistic direction from F. Ribalta, he went to 
 Rome, where he studied under Michelangelo da Caravaggio. 
 When twenty years of age he went to Parma, to study the works 
 of Correggio, but soon gave up the imitation of this master’s 
 style. In Naples, he married the daughter of a picture-dealer, 
 through whom his pictures soon became famous. The Spanish 
 Viceroys of Naples, Conte de Monterey and Juan d’ Austria, and 
 .also the Pope, conferred honours upon him. He was elected a 
 .member of the Roman Academy of St. Luke in 1630, and died 
 .at Naples in 1656. 1 
 
 Although a Spaniard by birth, Ribera, as follower of Cara- 
 vaggio, must still be regarded as belonging to the Naturalistic 
 School, which had its seat at Naples and which stood in opposi- 
 tion to the School of Bologna. He mostly represents the 
 martyrdoms of saints, and old men as anchorites. He com- 
 bined forcible colour with a free handling of the brush ; his light 
 is generally glaring. He represented in his compositions all 
 that was terrible and awful in nature. 
 
 No. 299. A LOCKSMITH. Three-quarter length figure, life-size, 
 turned to the right, the face seen in full ; brown felt hat, brown leather 
 doublet, reddish brown sleeves ; a lock in his left, a key in his right hand ; 
 on his back, a knapsack ; brownish background. 
 
 On Canvas. 4 ft. 3^ in. high ; 3 ft. 2% in. wide. 
 
 Formerly ascribed to Caravaggio, but the effects of light as well as the 
 modelling, especially of the hands, clearly show that this picture was 
 painted by Ribera ; the head full of energy. 
 
 1 W. Stirling, Annals of the Artists of Spain (London, 1848), vol. ii. pp. 740— 
 744. 
 
136 
 
 RICCf. 
 
 RICCL — Venetian School. 
 
 Born 1662. Died 1734. 
 
 EBASTIANO RICCI, or RIZZI, was born in 1662 at 
 Cividal di Belluno in the Venetian States. From 
 his twelfth to his twentieth year, he visited the studio 
 of Federigo Cervelli, a poor painter at Venice. 
 Afterwards he studied at Bologna. He was employed at Piacenza 
 by the Duke Ranuccio of Parma, and copied the frescoes of Ann. 
 Carracci in the Palazzo Farnese at Rome. After having visited 
 Florence, Modena, Parma, and Milan, he settled for three years 
 at Venice. He then painted in the Imperial Palace at Schon- 
 brunn, near Vienna, and in the Grand-Ducal Palace at Florence. 
 He was also summoned to England by Queen Anne, and on his 
 way thither was elected member of the Royal Academy at Paris 
 in 1 71 8. In England he found much employment, and remained 
 here for ten years, and then returned to Venice, where he died 
 May 13, 1734. 
 
 Ricci is one of the most attractive painters of the Italian 
 decadence. His compositions are lively and ingenious, without, 
 however, being profound. 
 
 No. 188. THE RESURRECTION OF CHRIST. In the centre, 
 the tomb, the stone cover of which is lifted up by angels ; above it, Christ 
 in the air, holding the banner of victory, and surrounded by angels on 
 light clouds ; soldiers lying on the ground, others taking flight. In 
 the distance, to the right, are rocks. 
 
 On Canvas. 2 ft. 8^ in. high ; 3 ft. 10 in. wide. 
 
 A very dramatic composition, the figures somewhat theatrical in their 
 motions. 
 
 No. 177. ST. MICHAEL VANQUISHING DEVILS. The 
 angel, in blue corselet and red mantle, holds the sword in his right hand ; 
 a glittering shield in his left ; he tramples on, and drives downwards, the 
 fallen angels, six nude figures, with bats’ wings. 
 
 On Canvas. 2 ft. 11 in. high ; 2 ft. 1 in. wide. 
 
 Daring and clever in the design of the foreshortenings. Painted 
 under the influence of Luca Giordano’s similar representations, which 
 are now at Vienna in the Belvedere Gallery, and in Lord Northbrook’s 
 Collection. 
 
RIGA UD. 
 
 1 37 
 
 RI GAUD.— French School. 
 
 Born 1659. Died 1743. 
 
 E ttYACINTHE RIGAUD Y ROS (the Red) was born 
 3 at Perpignan, July 20, 1659. His father, Mathias 
 J Rigaud, a painter, and son of a painter, died as early 
 as 1667. Hyacinth studied at Montpellier under 
 Pezet and Ranc. In 1681 he went to Paris, and, following the 
 advice of Le Brun, he worked chiefly as a portrait-painter, 
 studying for that end the works of A. van Dijck. It was not until 
 the year 1700 that he was admitted as a member of the Royal 
 Academy. He was made Professor in 1710. He died at Paris, 
 December 27, 1743. 
 
 Rigaud painted with the greatest zeal and care. He finished 
 annually thirty to forty portraits, he himself painting all the 
 accessories in detail. Princes, courtiers, and men distinguished 
 by merit, had their portraits taken by him. His historical com- 
 positions are less successful. Amongst his scholars and imitators 
 are Nicolas Desportes, Penai, Prieur, Bayeul, de Launay, Des- 
 court, Louis Rene de Vialy, and Jean Ranc. 
 
 The folloioing pictures are painted in the School of Rigaud : — • 
 
 No. 2 . PORTRAIT OF LOXJIS XIV, Half-length figure, three- 
 quarter in profile, turned to the left, life-size, hands not visible; a cuirass 
 over a brown coat, blue riband, black wig ; the right arm stretched out. 
 Hark background. 
 
 On Canvas. 3 ft. high ; 2 ft. 4J in. wide ; originally an oval. 
 
 Louis XIV., born 1638 , King of France from 1660 to 1715 . 
 
 No. 98 o PORTRAIT OF BOILEAIJ. Half-length figure, turned 
 to the right, the face in full ; greyish wig ; black mantle, lined with 
 brown ; dark background. 
 
 N. Boileau, French poet ? satirist, and critic, born 1636 , died 171 R 
 
 No. 118 . A MALE PORTRAIT. Half-length figure, turned to 
 the right ; the face seen nearly in full, life-size ; grey wig ; red-brown 
 mantle; grey background. 
 
 On Canvas. 2 ft. 7 in. high ; 2 ft. wide. 
 
ROM Ely N. 
 
 138 
 
 ROMEIjN.— Dutch School. 
 
 Born before 1630. Died after 1693. 
 
 ILLEM ROMEIJN, or ROMIJN, was born at Har- 
 lem. The date of his birth is not known. In the 
 year 1642 he is mentioned as being a scholar of 
 Claes Pietersz (Nicolaas Berchem). He was admitted 
 into the Painters’ Guild at Harlem in 1646, and appointed Com- 
 missary in 1660. The baptism of two of his sons is entered in 
 the church books of Harlem in the years 1652 and 1658, and in 
 1683 the death of his wife, Geertje Jans. Another document 
 mentions him as still living in 1693. 
 
 It is supposed that Romeijn visited Italy, and that he was 
 influenced there by Karel Dujardin. He painted almost exclu- 
 sively landscapes, with shepherds and cattle, conspicuous by their 
 picturesque arrangement. 
 
 No. 8. LADEN MULES AND CATTLE IN A ROMAN 
 LANDSCAPE. On the right, three mules standing ; on one of them 
 the driver is sitting, his Pack turned towards the spectator ; a church 
 and a gateway, beyond ; to the left, cattle, sheep, and a fountain ; blue 
 sky, with grey clouds. Signed 
 
 A) 
 
 On Canvas. 1 ft. 1| in. high ; 1 ft. in. wide. 
 
 No. 10. A GIRL MILKING A GOAT ON A ROAD. To the 
 right, sheep and goats lying on the ground, two standing; a girl kneels 
 and milks a goat; behind her, a donkey, with panniers; to the left, an old 
 tree ; in the background, mountains ; blue sky, with clouds. 
 
 On Canvas. 1 ft. in. high ; 1 ft. 4§ in. wide. 
 
 Two companion pictures, harmonious in colouring, and clearly painted 
 sunder the influence of Karel Dujardin. 
 
ROSA. 
 
 139 
 
 ROSA. — Neapolitan School. 
 
 Born 1615. Died 1673. 
 
 ALVATOR ROSA was born in the village of Renella 
 near Naples, June 20, 1615. His uncle, Paolo 
 
 Greco, gave him his first instruction ; afterwards he 
 entered the studio of Francesco Fracanzano, a 
 scholar of Ribera. Lanfranco supported the young Rosa, who 
 also visited the studio of Ribera, and for three years that of his 
 scholar Aniello Falcone, whom he imitated. He went to Rome 
 in 1635, where he received orders for paintings at Viterbo. In 
 1646 he returned to Naples, and in the following year he took 
 part in the rising of Massaniello, after whose defeat he fled to 
 Rome, and settled there again. Four years later he was sum- 
 moned to Florence by the Grand Duke of Tuscany, and remained 
 there for nine years, returning afterwards to Rome, where he died 
 on March 15, 1673. 
 
 Salvator Rosa is one of the greatest poets of nature in paint- 
 ing. In his mountainous landscapes especially he shows a daring 
 energy and a certain wildness of imagination. In his historical 
 and religious compositions he is seldom successful. 
 
 No. 271 . SOLDIERS GAMING. In the foreground a group of 
 four figures : one to the right, in a yellowish coat, helmet and cuirass, 
 stands leaning on a long stick. Opposite him two others throwing dice ; 
 .a third, in armour, stands behind, leaning over them. Dark sky. 
 Signed 
 
 0 / 0 - 
 
 On Canvas. 2 ft. 5 in. high ; 1 ft. 11| in. wide. 
 
 Study for the large picture in the Hermitage Gallery at St. Peters- 
 burg. 1 
 
 Desenfans’ Catalogue, No. 12. 
 
 Engraved by R. Cockburn. Mentioned by Waagen. 2 
 
 1 Engraved by Sanders in Description de la Galerie de V Hermitage, par 
 Camille de Gen&ve et Labensky (Petersburg, 1805), vol. i. pi. 24, p. 68. 
 
 2 Treasures of Ari, ii. p. 347 : ‘Very spirited, and in a deep glowing tone.’ 
 
1 4 o ROSA— RUBENS. 
 
 No. 159 . A POOL WITH FREAKS FISHING. To the left a 
 high tree ; behind it the declivity of a mountain, and before it a pool. 
 
 A Capuchin friar sits near the edge, another is fishing. Cloudy sky. 
 
 On Canvas. 2 ft. 5 in. high ; 1 ft. 5 in. wide. 
 
 Yery thinly painted, sketchlike execution. Mentioned by Waagen. 1 
 Engraved by K. Cockburn. 
 
 No. 318 . ENTOMBMENT OF CHKIST. Two men carrying 
 the body of Christ towards the left, where the edge of the tomb is 
 visible ; near them, two boys with torches ; above, to the left, two angels ; 
 to the right, the Madonna, near the entrance of the cave ; in the distance, i 
 the three crosses on Calvary. 
 
 On Canvas. 1 ft. 8 in. high ; 1 ft. | in. wide. 
 
 Formerly ascribed to A. Carracci, and also to A. Sacchi ; but the whole 1 
 conception clearly shows that the picture was painted by an artist of the 
 realistic school, and not by one of the school of Bologna. The design 
 and the colour betray the manner of Salvator Kosa. 
 
 No. 220 . (School of S. Rosa.) MOUNTAINOUS LANDSCAPE, ! 
 WITH A KI YEK. To the left, mountains with castles ; a river in the j 
 centre, with boats and some figures ; blue mountains in the distance ; 
 cloudy sky. 
 
 On Canvas. 1 ft. 6| in. high ; 2 ft. 1| in. wide. 
 
 Formerly ascribed to Salvator Kosa. Engraved by K. Cockburn. 
 
 RUBENS.— Flemish School. 
 
 Born 1577. Died 1640. 
 
 IETER PAULUS RUBENS was born June 29, | 
 1577, probably at Siegen in Westphalia (or at 
 Cologne). His father, Jan Rubens, was private j 
 secretary to William of Orange, and died at Cologne 
 in 1587. His widow Maria, born Pypelinx, then returned to 
 Antwerp, where Pieter Paulus Rubens received his primary edu- 
 cation at the Jesuit school. When sixteen years of age he was a 1 
 page of the Countess Lalaing. Giving up the study of the law, he 
 visited the studios of Tobias Verhaeght, of Adam van Noort, and 
 of Otto Vaenius. In 1598 he was received into the Guild of 
 St. Luke of Antwerp. From 1600 to 1608 he lived in Italy, 
 and mostly at Rome and Mantua, where he was appointed 
 court-painter of the Duke Vincenzo Gonzaga, in whose interest 
 
 1 Treasures of Art, vol. ii. p. 347. 
 
RUBENS. 
 
 141 
 
 he visited Spain in 1603. When he returned to Antwerp he 
 was appointed court-painter of the governor, Archduke Albert. 
 In 1609 he married Liisbette Brandt, daughter of the secretary 
 of Antwerp. In 1611 he built himself a beautiful house at 
 Antwerp, with a temple for art monuments attached to it. From 
 1621 to 1625 he painted the series- of allegories for the glorifi- 
 cation of Maria de’ Medici, which are now in the Louvre at Paris, 
 and the decorations of the Jesuit church at Antwerp. After the 
 death of his wife Liisbette in 1626 he sold his collection to the 
 Duke of Buckingham for about 100,000 florins, and visited in 
 diplomatic missions the courts of Madrid, London, Paris and 
 the Hague during the years 1627 and 1630. He was knighted 
 by Philip IV. of Spain and by Charles I., in recognition of his 
 diplomatic services. On December 6, 1630, he married at 
 Antwerp his young and beautiful cousin Helen Fourment, and 
 lived partly at Antwerp, partly at his country seat, Steen, always 
 occupied in executing large commissions. He died of gout, 
 May 30, 1640, at Antwerp. His collections and works realised 
 .at the auction the sum of 280,000 florins. 
 
 Under the influence* of the Venetian school the energetic 
 mind of Rubens created a new style of art adapted to himself 
 and to his countrymen. His genuine works are distinguished 
 by an extraordinary and overflowing power in dramatic com- 
 position, by healthiness of conception, by naturalness, by a 
 bright and glowing colour, and by an ingenious, almost speaking, 
 execution. The number of his pictures are between two and 
 three thousand ; many of these, certainly, have been partly or 
 wholly painted by his pupils after his sketches and under his 
 directions. 
 
 No. 171. THREE WOMEN WITPI A CORNUCOPIA. Two 
 women, partly undraped, seated on the ground, holding up a large cornu- 
 copia, which at the same time they fill with fruit from a basket before them. 
 To the right, further back, stands a third woman, clad in a tunic and 
 assisting them. Dark clouds in the background. 
 
 On Panel. Ilf in. high ; 9§ in. wide. 
 
 A sketch for a large picture. 
 
 No. 182. PORTRAIT OF HELEN FOURMENT, SITTING 
 BEFORE A POOL. Full-length figure, about twenty-five years of age, 
 turned to the right and sitting before a pool, which is on the right ; 
 green satin dress and greyish-blue satin bodice; a blue mantle lined 
 
RUBENS. 
 
 with yellow is placed behind her on a tree ; to the right, a rocky bank : 
 to the left, in the foreground, a demijohn. Cloudy evening sky. 
 
 On Panel. 2 ft. 4| in. high ; 2 ft. 4§ in. wide. 
 
 Painted cl la prima, in light colours, of extraordinary glowing power. 
 Helen Fourment, second wife of Bubens, was born in 1614. Bubens 
 married her when she was only sixteen years of age. Formerly described ’ 
 as representing Mary Magdalen. Smith's Catalogue, Ho. 857, where it 
 is valued at sixty guineas. 
 
 Ho. 204 . ST. BABBABA FLEEIHG FBOM HEB FATHEB. 
 The Saint, in white garments and violet mantle, flees towards a tower to 
 the left, a palm-branch in her left hand. A soldier, in a red tunic and 
 white turban, and drawn sword, pursues her. Evening sky with grey 
 clouds. 
 
 On Panel. 1 ft. f in. high ; 1 ft. 6 in. wide. 
 
 A sketch for the decoration of a ceiling ; the figures foreshortened 
 probably destined for the decoration of the Jesuits’ church at Antwerp. 
 
 Desenfans’ Catalogue, Ho. 84. 
 
 No. 240 . THE THREE GRACES DANCING. (Grisaille.} \ 
 Clasping each other, and with only a veil around them, the Three Graces ! 
 elegantly begin a dance, one of them holding up a tambourine. In the 
 background, bushes, and a circular temple. 
 
 On Panel. 1 ft. 3£ in. high ; 1 ft. 3| in. wide. 
 
 The artist seems to have been inspired for this composition by 
 Baphael’s representation of the same subject, one of his masterpieces, now 
 in the Earl of Dudley’s Collection. It is of about the same size. 
 
 Ho. 351 . VEHUS, MABS, AHD CUPID. Venus, seated on a 
 couch, facing the spectator. She is nearly undraped, a blue cloth on her 
 lap, and a white veil fastened by a bracelet on her right arm ; the right : 
 hand on her breast, ready to give it to a Cupid, who is climbing up to 
 her on the right ; a shield, quiver, and bow on the ground ; beyond the 
 couch to the right, Mars and another Cupid. A red curtain and archie | 
 tecture form the background. The figures whole-length, life-size. 
 
 On Canvas. 6 ft. 4i in. high ; 4 ft. 3| in. wide. 
 
 Although the conception is by no means an idealistic one, the forms 
 being in some parts even vulgar, as for instance the feet of Venus, there 
 is still much to be admired in the very spirited execution, in the glowing 
 power of the colours, and especially in the humorous liveliness of the 
 boy. Painted in the master’s latest period. 
 
 Smith’s Catalogue, Ho. 704, where it is valued at 500 guineas. 
 
 Engraved by Bolswert. 
 
 The following pictures are old copies after Rubens : — 
 
 Ho. 33 . CUPIDS IH THE AIB. Eight Cupids joyfully circle 
 round in space with joined hands ; one Cupid floats forward in the centre,. 
 
RUBENS . 
 
 143 
 
 having just discharged his arrow ; they wear red and blue scarves; blue 
 sky with grey clouds. The figures are life-size. 
 
 On Canvas. 5 ft. 7 in. high ; 4 ft. 2 in. wide. 
 
 Designed for the decoration of a ceiling. 
 
 No. 117. CUPIDS HEAPING. Six Cupids are cutting and 
 carrying corn ; one stands on the left with a large hat; trees to the 
 right; the cornfield on the left. A flat landscape beyond. Cloudy sky _ 
 
 On Panel. 1 ft. 7| in. high; 2 ft. in. wide. 
 
 The original is in the Earl of Radnor's Collection. 
 
 No. 172. VIRGIN AND CHILD. The Madonna seated in 
 front, clad in a red garment ; a blue mantle falls down from her right 
 arm ; on her lap, to the right, the infant Christ undraped, seated on a 
 white cushion, ready to take the breast ; to the left in the distance a 
 landscape ; the pedestal of a column to the right. 
 
 The figure of the Madonna is three-quarter length. 
 
 On Panel. 1 ft. f in. high ; 9| in. wide. 
 
 No. 175. LANDSCAPE WITH A SHEPHERD AND HIS 
 ELOCK. A view over an open swelling country ; in the foreground, a 
 green rising ground, covered with scattered trees ; to the left, a bridge 
 and a pathway ; on it a shepherd blowing a flute, followed by a flock of 
 sheep and two cows; in the distance, blue mountains. Evening sky 
 with bright clouds. 
 
 On Canvas. 3 ft. 5i in. high ; 5 ft, 1| in. wide. 
 
 Smith's Catalogue, No. 725 (?) 
 
 No. 207. AN EVENING LANDSCAPE. To the right, trees, 
 and a village, before which, in the foreground, a shepherd playing the 
 flute, and sheep ; in the middle, distance a brook ; in the background,, 
 hills. Evening sky, with dark clouds. 
 
 On Panel. 1 ft. 6 in. high ; 1 ft. 4| in. wide. 
 
 No. 235. A SAINT SAYING MASS. The Saint, in the dress 
 of a priest, stands at an altar turned towards the people, who kneel in 
 the foreground ; to the left women, screaming out. A group of priests 
 to the left of the Saint ; three angels above ; the background is formed by 
 architecture. 
 
 On Panel. 2 ft. 5 in. high ; 1 ft. 6| in. wide. 
 
 The following 'pictures are painted in the style of Rubens by his 
 scholars or imitators : — < 
 
 No. 355. PORTRAIT OF AN OLD LADY. Full-length figure 
 of a lady sitting in an arm-chair, facing the spectator, life-size ; black 
 dress lined with fur, white ruff, black cap, a prayer-book in her right 
 hand, a handkerchief in her left ; columns and a red curtain in the back- 
 ground. 
 
 On Canvas. 5 ft. 6| in. high ; 3 ft. 4§ in. wide. 
 
 Supposed to represent the mother of Rubens, but sufficient proofs of 
 
144 
 
 RUBENS. 
 
 this are wanting. The execution is too simple, and not spirited enough 
 for Rubens. To judge from the technique , the picture must have been 
 painted long after 1600, the year in which Rubens saw his mother for 
 the last time. 
 
 lee 
 
 No. 108. SAMSON AND DELILA. To the right, Delila, sitting . 
 on the ground, in a white silk dress, her breast uncovered. Samson 
 reposes in her lap — a skin round his hips. An old man in a black tunic , 
 approaches him with a pair of scissors ; two women bend over the head | 
 of Delila ; a group of soldiers waiting behind a column to the left. Blue j 
 sky. The four figures in the foreground are life-size. 
 
 On Canvas. 4 ft. 11 in. high; 7 ft. 6| in. wide. 
 
 h 
 
 k 
 
 In its composition and in colouring of great effect. Painted in imi- 
 tation of Rubens, but differs from his style in the harmony of the colours. 
 Engraved by Matham. 
 
 No. 187. PORTRAIT OF A LADY. Half-length figure, facing the \ 
 spectator, fair hair, violet dress with slashed sleeves, strings of pearls round '■ 
 neck and waist, a fan in her right hand. Reddish-brown background. 
 
 On Panel. 2 ft 6| in. high ; 2 ft. 1| in. wide. 
 
 Formerly called a portrait of Maria de’ Medici, to whom, however, it 
 bears no resemblance whatever. When Mr. Desenfans bought it, it was 
 described as representing the wife of Rubens. 
 
 Desenfans’ Catalogue, No. 88. 
 
 No. 170. VENDS AND CUPID WARMING THEMSELVES 
 NEAR A FIRE. Venus seated on the ground, partly covered with a 
 red mantle, and holding one hand and one foot to a fire, near which 
 Cupid crouches to the right. In the background, to the left, a wood, 
 and a river to the right ; blue sky with light clouds. 
 
 On Panel. 1 ft. f in. high ; 1 ft. 6 in. wide. 
 
 Differs both in conception, and design from Rubens’ style, but resem- 
 bles it in colour. 
 
 No. 227. VENUS WEEPING OVER ADONIS. The body of 
 Adonis lies stretched out on the ground ; Venus kneels near his head to 
 the left. An attendant woman dresses the wounded limb; two others 
 behind weeping ; Cupid steps away from the group. To the right two 
 boar-hounds. Trees and grey sky in the background. 
 
 On Panel. 1 ft. 6| in. high ; 2 ft. 1| in. wide. 
 
 Formerly ascribed to van Dijck. A similar picture by Rubens is 
 said to be in Mr. Hope’s Collection. 
 
 No. 78. A GROUP OF FOUR SAINTS. To the right stands 
 St. Catherine in a white garment, her right hand resting on a sword, 
 a palm-branch in her left ; behind her a bishop (St. Ambrose ?), oppo- 
 site another bishop (St. Gregory ?), and another Saint in white gar- 
 ment and black mantle holding a pilgrim’s staff. Two angels with 
 wreaths floating above ; a niche in the background. 
 
 On Panel. 2 ft. in. high ; 1 ft. 1\ in. wid . 
 
RUBENS— JACOB VAN RUISDAEL. 
 
 145 
 
 The great slenderness of the figure and the monotonous colouring 
 betray a later period than that of Rubens. 
 
 No. 174 . A ROMAN SOLDIER WITH A TROPHY. A 
 Roman soldier clad in cuirass and red mantle, bareheaded, stands in 
 front, holding up a trophy ; a landscape and dark sky in the distance. 
 
 On Panel. 1 ft. 7 in. high ; 1 ft. 1| in. wide. 
 
 J. VAN RUISDAEL.— Dutch School. 
 
 Born 1625. Died 1682. 
 
 COB VAN RUISDAEL or RUIJSDAEL, 1 was 
 born at Harlem about the year 1625. There is 
 nothing certain known about his youth. His 
 father Isack van Ruisdael was a picture-dealer and 
 manufacturer of frames. He is thought to have also worked as 
 a painter, and to have given some instruction to his son. It 
 is also supposed that the landscape-painter Salomon van Ruijs- 
 dael and Aldert van Everdingen were the masters of Jacob, who 
 was admitted into the Guild of St. Luke in 1648, and became 
 a citizen of Amsterdam in 1659. He remained unmarried, 
 in order to promote the comfort of his aged father, but in spite 
 of his activity his talents were not appreciated by his contem- 
 poraries as they deserved to be. His fellow-religionists — he 
 belonged to the sect of the Mennonites — obtained for him in 
 1681, from the burgomaster of Harlem, a place in the almshouse 
 of Harlem, by payment of a certain sum. He soon after died 
 there, and was buried May 14, 1682. 
 
 No landscape-painter knew so well as Jacob van Ruisdael 
 how to render the character of the scenery of the northern 
 provinces of the Netherlands in all its solemnity, quietude, and 
 monotony. His colouring is forcible and harmonious, but not 
 rich ; brown, green, and grey forming the local tones. The high 
 artistic importance of his pictures lies in the conception and in 
 the solemn earnestness of the prevailing tone, founded upon 
 deep study of nature, and upon reflection. His pictures mostly 
 represent views — the environs of Harlem and Bentheim. The 
 figures which enliven them are generally the work of Nicolaas 
 Berchem, A. van de Velde, Ph. Wouwerman, or Lingelbach. 
 
 1 Only a few of bis earliest works are signed * Rnijsdael/ 
 
 L 
 
146 
 
 JACOB VAN RUISDAEL. 
 
 No. 241 . TWO WINDMILLS NEAR A PATHWAY. In 
 the foreground, to the right, a hut near a windmill ; another windmill 
 further hack ; the * Groote Kerk ’ of Harlem in the distance ; to the left 
 the pathway crosses the fields ; on it a rider and a boy • a woman at the 
 door of the hut, conversing with another boy. In the foreground a pool ; 
 near it, a horse and a woman. Grey sky. Signed 
 
 On panel. 1 ft. high ; 1 ft. § in. wide. 
 
 Probably painted before Ruisdael left Harlem (1659). Very simple 
 in its motive, but very solemn and of great poetical charm. The horse 
 in the foreground has been re-painted, probably by the artist himself. 
 Engraved by P. Cockburn. Smith’s Catalogue, No. 315, where it is valued 
 at forty guineas. 
 
 154 . A WATERFALL. The waterfall occupies the entire width 
 of the foreground ; beyond it, to the left, the declivity of a mountain 
 covered with autumn-tinted beech-trees. To the right, in the middle 
 distance, a meadow, partly lined with fir-trees and leafy bushes ; in the 
 background a rock ; three figures to the right on the bank of the river. 
 Cloudy sky. Signed 
 
 On Canvas. 3 ft. 2 in. high ; 2 ft. in. wide. 
 
 It has been stated that J. van Ruisdael painted waterfall scenery only 
 in his latest period ; the style of the signature on this picture certainly 
 tends to confirm the correctness of this observation. 
 
 Engraved by R. Cockburn. Smith’s Catalogue, No. 314, where it is 
 valued 300 guineas. 
 
 No. 278 . THE EDGE OF A WOOD. In the foreground, aged 
 oak-trees ; to the right, a wood of beeches ; two roads lead towards the 
 middle ground. In the background, low trees and bushes ; beyond these 
 a meadow ; behind it a castle and a church ; on the meadow a shepherd 
 with sheep ; on the road in the foreground, a horseman and a sportsman 
 on foot, followed by three hounds ; other figures behind. Cloudy sky. 
 Signed 
 
 On Canvas. 3 ft. 10 in. high : 5 ft. -1 in. wide. 
 
5. VAN RUIJSDAEL . 
 
 147 
 
 Previously attributed to Wijnants, but formerly rightly ascribed to 
 J. van Ruisdael whose signature it bears ; it is, however, not to be 
 denied that the influence of Wijnants prevails in some parts, especially 
 in the foreground. The figures are by Adrian van de Yelde ; the picture 
 therefore must have been painted before the year 1672, the date of that 
 painter’s death. 
 
 Smith’s Catalogue, No. 168, where it is valued at 350?. 
 
 No. 245 . {School of J. van Ruisdael) A CANAL WITH A 
 BRIDGE. To the left, small houses, a windmill and trees y in the 
 centre a canal and a big bridge of one arch, on which are two fishermen. 
 "To the right a footpath, with a wayfarer. Blue sky with dark clouds. 
 
 On Panel. 1 ft. 2f in. high ; 1 ft. 7| in. wide. 
 
 No. 51 . {After Ruisdael.) LANDSCAPE. In the foreground, to 
 the left, a blasted tree near a pool ; other trees behind ; a man near the 
 pool. Grey sky. 
 
 On Panel. 7 \ in. high ; 1 ft. 3 in. wide. 
 
 Copied by the picture-dealer W. Woodburn. 
 
 S. VAN RUIJSDAEL.— Dutch School. 
 
 Born about 1600. Died 1670. 
 
 ALOMON VAN RUIJSDAEL, uncle of Jacob van 
 Ruisdael, was born at Harlem, where he was ad- 
 mitted as a master into the Painters’ Guild in 1623. 
 He died at the end of November 1670. He worked 
 as a landscape-painter at Harlem. 
 
 No. 178 . {School of S. Ruijsdael.) A ROAD NEAR COTTAGES. 
 s In the centre, two cottages surrounded by trees ; in the foreground, a 
 , man leading a cow on a sandy road ; near him a boy ; behind them a 
 i man and a woman lying on the ground ; three other figures in one of the 
 H cottages; to the left, in the distance, a flat landscape; blue sky with 
 ie I clouds. Signed 
 
 A k<2/n . 0 fo 
 
 in 
 
 v, | On Panel. 1 ft. 7| in. high ; 2 ft. 1| in wide. 
 
 Formerly ascribed to Isack van Ostade. The name of the painter in- 
 dicated by the fragmentary signature cannot be wholly traced ; but to 
 judge from the style of the picture one may conclude that its author 
 must have been a close follower of Salomon van Ruijsdael. The figures 
 are very much in the style of Adrian van Ostade. 
 
 L 2 
 
NDREA SACCHI, born at Rome in 1599, re- 
 ceived his early instruction from his father Benedetto 
 Sacchi, and afterwards from Albano. Cardinal 
 Antonio Barberini was his protector and friend, 
 under Pope Urban VIII. Later on he visited the principal 
 towns of North Italy, and imitated Correggio after his return to 
 Rome, where he died June 21, 1661. 
 
 His works are very numerous at Rome. His scheme of 
 colour is forcible, the expression of his figures lively, and the 
 arrangement of his draperies simple. He is the founder of the 
 last Roman School, whose best scholar was Carlo Maratti 
 (1625-1713). ' 
 
 No. 346. ST. CATHERINE OF SIENA. The Saint wears a 
 yellowish under-garment, black mantle and a white head-dress, with a 
 crown of thorns over it ; on her clasped hands the Stigmata of Christ ; 
 she bends down her head in prayer before a cross; half-length figure, 
 turned to the left, life-size, dark background. 
 
 On Canvas, circular. 2 ft. 10j in. in diameter. 
 
 Formerly called a ‘ Mater Dolorosa ; * but the wounds on the hands,, 
 and the habit, prove that the figure represents the above-named Saint. 
 
 SAENREDAM.— Dutch School. 
 
 Born 1597. Died 1665. 
 
 IETER JANSZOON SAENREDAM was born at 
 Assendelft in 1597. In 1612 he entered the studio 
 of Franz de Grebber at Harlem. In 1623 he was 
 admitted into the Guild, nominated secretary of it 
 in 1635, and commissioner in 1640. In 1651 he is mentioned 
 as being a widower, and also as a member of the Reformed 
 Church. He died at Harlem towards the end of May 1665. 
 
SAENREDAM SAFT-LEVEN, 
 
 149 
 
 Saenredam is one of the first Dutch painters of architecture. 
 Like the painters of the earliest Dutch School, he aimed at 
 transmuting' the local colours into tones. His works were 
 .appreciated as early as the time of C. de Bie, who praised his 
 pictures. 1 
 
 No. 94. GOING TO A BAPTISM IN A CATHEDRAL. 
 View into the side-aisle of a church, with circular columns and cross 
 ■vaults ; to the left, behind, the iron gate of the baptistry, a priest and a 
 gentleman waiting ; in the nave a page, a nun carrying the baby, fol- 
 lowed by two ladies, all approaching the baptistry. 
 
 On Panel. 1 ft. 4 in. high ; 1 ft. | in. wide. 
 
 SAFT-LEVEN. 
 
 Born 1609. Died 1685. 
 
 ERMAN SAFT-LEVEN was born at Rotterdam in 
 1609. He was a scholar of Jan van Goijen, and 
 probably also of his elder brother Cornelis Saft- 
 Leven. He worked chiefly at Rotterdam and at 
 Utrecht, where he died January 5, 1685. 
 
 He usually represented in his pictures the environs of the 
 Rhine : they are executed with the greatest care and the smallest 
 -detail, rendered with the accuracy of a miniature painting. The 
 very thin impasto on his paintings proves the great firmness and 
 skill of the artist, whose works, although highly praised by San- 
 -drart 2 and C. de Bie, 3 have only been of late duly appreciated. 
 
 No. 101. A VIEW ON THE RHINE. To the right, the river; 
 ■on it numerous boats ; to the left, a -woody cliff with trees, cottages, 
 •churches, and the tower of a castle ; various figures on roads scattered 
 - .about. Beyond the river steep mountains with villages and castles. 
 Blue sky, with a few clouds. Signed and dated 
 
 (I CfQ U>s& 
 
 0 On Panel. 1 ft. 4§ in. high ; 1 ft. 10| in. wide. 
 
 1 Het Guldeneabinet , p. 498. 
 
 2 Teutsclie Academie, chap. cci. : ‘ H. Saftleven .... painted landscapes, and 
 jj -distinguished himself by the care as well as the great accuracy with which he 
 
 , painted.’ 
 
 3 L let Guldencabinet, p. 275 : 4 A good painter of landscapes ; at first he painted 
 
 peasants and barns, but now he indulges in his predilection for landscape-paint- 
 ings. He lives at Utrecht.’ 
 
SAFT-LE VEN—DEL SARTO. 
 
 150 
 
 Formerly ascribed to Vosterman. It is an original picture by H. 
 Baft-Leven, executed at bis best period, and remarkable for the exquisite 
 finish of the minutest details in this very rich composition. 
 
 DEL SARTO. — Florentine School. 
 
 Born 1487. Died 1531. 
 
 NDREA DEL SARTO was born at Florence in< 
 1487. In documents, his full name is designated as- 
 being Andrea d Agnolo di Francesco di Luca di 
 Paolo del Migliore. 1 2 His father Agnolo, a tailor 
 ( sarto ), placed him at first as an apprentice with a goldsmith ; 
 but he soon entered the studio of Gian Barile, a mediocre painter A 
 who recommended him as a pupil to Piero di Cosimo in 1498. 
 A. del Sarto then studied the works of Masaccio at the Bran- 
 cacci chapel, the cartoons of Leonardo and Michael Angelo, 
 and educated himself under the influence of Fra Bartolomeo. 
 He worked at fir§t as an independent master with Francia Bigio. 
 In 1512 he married Lucretia del Fede, whose portrait can be 
 recognised in his later pictures of the Madonna. In 1518 he- 
 was at Paris in the service of King Franqois I., but had returned 
 again to Florence in 1519, where he died of the plague, January- 
 22, 1531. 
 
 Andrea del Sarto appears in his original works as the greatest 
 colourist of the Florentine School. Being very popular and 
 appreciated, he executed a great number of paintings, especially 
 pictures of the Madonna. His scholars were Francesco Salviati,. 
 Giorgio Vasari, Andrea Squazella, Giacomo da Pontormo, and 
 Nannoceio. Domenico Puligo, Marco Antonio, Francia Bigio 
 were his imitators and assisted him at his works. 
 
 No. 326. THE VIRGIN WITH THE INFANT CHRIST 
 AND ST. JOHN. The Virgin seated in front, holding the infant 
 Christ on her lap ; to the right, the infant St. John, with the cross; his 
 head and left shoulder are alone visible. The Madonna is dressed in a 
 pink garment and blue-green mantle, grey sky in the background. Out- 
 
 1 The family name, Vannucci, which had been given to him formerly, is founded 
 upon an error of Cinelli in his supplements on Bocchi’s Bellezze di Firenze (1677).- 
 
 2 Vasari, Vite de' Pittori (ed. Le Monnier), viii. 252, and the notes on p. 93, See,. 
 
DEL SARTO— SCHALKEN. 
 
 iSi 
 
 line nimbs round the beads. The figure of the Virgin is three-quarter 
 length, less than life-size. 
 
 On Panel. 2 ft. 8| in. high ; 2 ft. 1\ in. wide. 
 
 An ancient copy by an unknown scholar, after the picture No. 388 
 in the Museo del Prado, at Madrid, where, however, the figure of St. John 
 is wanting. 
 
 Mentioned by Crowe and Cavalcaselle. 1 
 
 No. 327 . HOLY FAMILY. To the right, the Madonna seated 
 on the ground ; on her knee, the infant Christ turned towards St John, 
 who bends down to him from the lap of his mother Elizabeth, sitting 
 behind to the left. To the right, behind the Madonna, St. Joseph, leaning 
 his head on his left hand. Mountains in the distance, with a ruined 
 building to the left. Blue sky. The figures are life-size. 
 
 On Panel. 4 ft. 8 in. high ; 3 ft. 6 in. wide. 
 
 An ancient copy of the original, No. 81, at the Pitti Gallery at 
 Florence. The composition is here enlarged by the figure of St. Joseph. 
 The execution of this figure, different in style, recalls the manner of 
 Andrea del Sarto’s scholar, Giorgio Vasari of Arezzo (1511-1574), the 
 well-known biographer of the Italian artists. 
 
 Desenfans’ Catalogue, No. 9. 
 
 SCHALKEN.— Dutch School. 
 
 Born 1643. Died 1706. 
 
 ODFRIED SCHALKEN was born at Dort in 1643. 
 His father was principal of the Latin School where 
 Godfried studied, but he soon gave up the study of 
 literature in order to enter the studio of Samuel van 
 Hoogstraeten, a scholar of Rembrandt. Afterwards he became a 
 scholar of Gerard Dou, whom he followed. He was very soon 
 renowned, as an independent master, and when he visited 
 England he painted the portrait of William III. After working 
 at Diisseldorf, for the Elector of the Palatinate, he settled at the 
 Hague, where he died in 1706. 
 
 Schalken painted, besides portraits, mostly small figures 
 of a very delicate finish ; especially scenes from daily life by 
 candlelight. In his early period he comes very near, to Gerard 
 Dou in his genre pictures. 
 
 History of Painting in Italy , vol. iii. 
 
152 
 
 SCHALKEN—SCHEDONE. 
 
 No. 238 . CERES AT THE OLD WOMAN’S COTTAGE. 
 Ceres, dressed as a peasant-girl, stands before a cottage door, drinking out 
 of a bowl, with a candle in her left hand ; opposite her the old woman, 
 holding also a candle ; near her a nude boy pointing mockingly at Ceres ; 
 to the right, in the foreground, different utensils ; a tree near the door ; 
 the full moon shining over the hut. Dark sky. 
 
 On Panel. 1 ft. 4| in. high ; 1 ft. 2| in. wide. 
 
 See Ovid, * Metamorphoses.’ Ceres, seeking through the world for her 
 daughter Proserpine, arrived at the cottage door of an old woman, and 
 begged refreshment. The son of the old woman, mocking at the 
 wretched and woe-worn appearance of the goddess, was turned into a 
 frog. 
 
 The same subject has been treated by Elshaimer, to whom previously 
 this picture has been ascribed, but Elshaimer’s composition is entirely 
 different. In Desenfans’ Catalogue, No. 128, it is attributed to G. Dou. 
 It has certainly been painted in the school of this master, and, to judge 
 from its technique , it must be considered as an early work of G. Schalken. 
 
 SCHEDONE.— Italian School. 
 
 Born about 1580. Died 1615. 
 
 ARTOLOMEO SCHEDONE, or SCHIDONE, was 
 born at Modena about the year 1580. There is very 
 little known about his life. He studied the works 
 of Correggio at Parma, where he entered into the 
 service of the Duke Ranuccio, who appointed him his first 
 painter. He died in Parma in the year 1615. 
 
 Of all the imitators of Correggio, he succeeded best in 
 rendering the naive conception of his model. In later years 
 he was also influenced by the school of the naturalists, as is 
 seen by the peculiar light in his pictures, especially of the 
 figures. His works are rare, as he did not paint much. 
 
 No. 302 . {School of Schedone.) HOLY FAMILY. To the right 
 the Madonna, taking into her arms the infant Christ standing near her ; 
 to the left, the infant St. John sitting ; behind him St. Joseph bending 
 forward. Trees in the background, a hut in the distance. Blue sky. 
 
 On Panel. 1 ft. 8| in. high ; 1 ft. 5f in. wide. 
 
 A clever imitation of Schedone, but heavy in design ; the figure of 
 St. J oseph is copied from the Pieta by Correggio in the Pinacoteca at 
 Parma. 
 
SEGHERS. 
 
 *53 
 
 SEGHERS.— Flemish School. 
 
 Born 1590. Died 1661. 
 
 ANIEL SEGHERS, son of Peter Seghers, a silk- 
 merchant, was born at Antwerp December 5, 1590. 
 After the early death of his father, his mother Mar- 
 gareta van Geel, a Protestant, took him away with 
 her to Holland and brought him up in her religion. He began 
 to study painting when only about fifteen years of age ; in 1609 
 his mother returned with him to Antwerp, where Daniel entered 
 the studio of Jan Brueghel (Velvet Brueghel). In 1611 he was 
 admitted as a master into the Guild of St. Luke. In 1614 he 
 returned to the Roman Catholic religion, and in the month of 
 December of that same year he entered at Mechlin the novitiate 
 of the Society of Jesuits. He then visited Brussels and Rome, 
 where he remained a year ; when he returned to Antwerp he 
 was much befriended by Rubens. Most of the princes of Europe 
 gave him commissions. He died at Antwerp November 2, 1661. 
 
 Seghers is the greatest Flemish painter of flowers : they are 
 exquisitely finished in every detail, true to nature in form and 
 colouring, and tastefully arranged. Rubens, Cornelius Schut, 
 Erasmus Quellinus, and Al. van Diepenbeck often painted figures 
 in the centre of his garlands. His flower-pictures have been 
 sung by the poets Constantine Huijgens, Vondel, and C. de Bie. 1 
 
 No. 102 . FLOWERS ENCIRCLING A RELIEF. In the centre 
 an oval relief, encircled by a broad rococo frame, representing the Virgin 
 and Child with St. Elizabeth in adoration ; on the frame, four groups of 
 flowers, as hyacinths, jonquils, tulips, jasmins, roses, mallows, pinks, 
 snowdrops, tuberoses, hellebore, ivy, and iris. Signed 
 
 On Canvas. 3 ft. 1? in. high ; 2 ft. 3| in. wide. 
 
 An important work of the master, the colours very forcible and 
 
 11 Het Giildencabinet , p. 213 and p. 566, where also the epitaph of the painter 
 published. 
 
154 
 
 VAN SLINGELAND — SNA YERS, 
 
 delicate in tone, the figures probably by Erasmus Quellinus (1607-1678), 
 scholar of his father the sculptor Erasmus; he worked at Antwerp. 
 Mentioned by Waagen. 1 
 
 VAN SLINGELAND.— Dutch School. 
 
 Born 1640. Died 1691. 
 
 IETER CORNELISZ VAN SLINGELAND was 
 born at Leyden October 20, 1640. He was a 
 scholar of Gerard Dou, and worked chiefly at Leyden, 
 where he died November 7, 1691. 
 
 Slingeland is a skilful painter in the style of Gerard Dou. 
 As he spent much time in the execution of the details, his 
 pictures are not numerous. They are accurate in design, but 
 generally more laboured than easy, and rather cold in colour- 
 ing. 
 
 No. 151 . A BOY HOLDING A JTJG WITH A BIRD’S- 
 NEST. Half-length figure of a boy, about ten years of age, standing 
 near a balustrade, on which are his hat and a broken jug containing the 
 bird’s-nest. A bird sits on the boy’s right hand : a wall and trees in the 
 background. 
 
 On Panel, arched top. 6| in. high ; 4§ in. wide. 
 
 Broadly executed. An early and unusually attractive picture of the 
 master ; harmonious and bright in colour. 
 
 Smith’s Catalogue, No. 7 (?) 
 
 SNAYERS. — Flemish School. 
 
 Born 1593. Died after 1669. 
 
 IETER SNAYERS was born at Antwerp in 1593. 
 He became a scholar of Sebastian Vrancx, and was 
 admitted as a member into the Guild of St. Luke in 
 1612. In 1628, the Stadholder, Archduke Albert, 
 summoned him as his court-painter to Brussels, where he also 
 was admitted as a member into the Guild of Painters. He is 
 mentioned as still living in the year 1669. 
 
 1 Treasures of Art, y ol. ii. p. 345 : ‘A very admirable picture of this master, so 
 justly celebrated in his own times, and whose red roses still flourish in their 
 original beauty, while those of the later painters — De Heem, Huijsum, and Rachel 
 Kuysch— have more or less changed.’ 
 
SNA VERS— SPANISH SCHOOL . 
 
 155 
 
 P. Snayers owes his celebrity to his battle-pieces, which 
 are mostly scenes of the Thirty Years’ war. He occasionally 
 painted hunting-pieces and still-life. His pictures, although 
 hasty in execution and of a somewhat hard and variegated 
 colouring, still deserve appreciation, because of their broad and 
 pictorial treatment. Van der Meulen was his scholar. 
 
 No. 45. A SKIRMISH OF CAVALRY. To the right, a river, 
 near which numerous soldiers on horseback are fighting with swords and 
 pistols ; further back are other groups of fighting men ; bushes and trees 
 in the background. Blue sky with light clouds. Signed, F. el Pintor. 
 
 On Canvas. 2 ft. 5 in. high ; 3 ft. in. wide. 
 
 Mentioned by Waagen . 1 
 
 SPANISH SCHOOL.— Unknown Artists. 
 
 No. 224. THE CRUCIFIXION OF ST. PETER. St. Peter is 
 tied to the cross, his head downwards ; three men are setting up the 
 cross ; a great number of people, especially women, assembled as spec- 
 tators ; to the left, a horseman in armour, with a red flag, on which is the 
 imperial eagle ; on either side are trees ; blue sky. 
 
 On Canvas. 3 ft. 6 in. high : 2 ft. 8 in. wide. 
 
 Formerly ascribed to Murillo ; the painting of the picture is that of 
 a later artist. Dr. Waagen states that this picture is a sketch for the 
 Crucifixion of St. Peter now in Sir W. Miles’ Collection at Leigh Court, 
 painted by Murillo ; 2 but this is a mistake, the composition of the two 
 works being very different. 
 
 No. 294. MEETING OF JACOB AND RACHEL. In the fore- 
 ground Jacob and Rachel kneeling, and kissing each other ; behind, to 
 the left, a well 5 a flock of sheep in the centre ; woody landscape and blue 
 sky. 
 
 On Canvas. 2 ft. 11| in. high ; 4 ft. 10 in. wide. 
 
 Formerly ascribed to Murillo. 
 
 Engraved by R. Cockburn. 
 
 No. 301. ST. ANTHONY OF PADIJA APPEARING TO A 
 KNIGHT. In the foreground a white horse lying on the ground, the 
 rider thrown down ; behind it a landscape with houses. Above, in 
 clouds to the right, St. Anthony in his habit, seated on clouds, a lily in 
 his right hand. 
 
 On Canvas. 1 ft. 3| in. high ; 1 ft. wide. 
 
 1 Treasures of Art, vol. ii. p. 343: ‘A clear and carefully painted picture by 
 this early but very meritorious landscape and cattle painter.’ 
 
 2 Ibid. vol. ii. p. 346. 
 
156 
 
 SPANISH SCHOOL— S WANE VELT. 
 
 Formerly called the Conversion of St. Paul, and ascribed to G. Poussin 
 and previously to Yelazquez ; painted by an unknown painter of the 
 .Spanish School. 
 
 No. 329. CHRIST BEARING HIS GROSS. Full-length figure 
 of Christ, life-size, bearing the Cross on his left shoulder, and advancing 
 to the right ; the crown of thorns on his head. He is clad in a long grey 
 garment ; a cord hanging down from his neck ; barefoot. Behind him 
 to the left, St. John and the two Marys lamenting. Barren landscape 
 to the right. Dark sky. 
 
 On Canvas. 7 ft. 4 in. high ; 4 ft. 2| in. wide. 
 
 The canvas was originally only 6 ft. 3 in. high. 
 
 Formerly ascribed to Morales ; previously called ‘ Unknown.’ These 
 representations are veiy common in Spain, where they are called, ( Calle 
 del amargura.’ 
 
 SWAN EVE LT.— Dutch School. 
 
 Born 1620. Died 1655. 
 
 ERMAN SWANEVELT was born at Woerden in 
 1620.' He is said to have begun painting under 
 Gerard Dou, but he went early to Rome, where he 
 studied under Claude le Lorrain, and often painted 
 the figures in his pictures. Having a great predilection for 
 sojourning in the ruins of Rome, Tivoli, and Tusculum, he 
 received the nickname of Eremita. He visited Paris, where he 
 was admitted a member of the Royal Academy in the year 
 1653 ; i n the following year he worked together with Patel, and 
 died probably in 1655J 
 
 His compositions are tasteful, but generally a cold-green 
 tone pervades them. 1 2 His numerous etchings deserve more 
 admiration. 
 
 No. 221. TRIUMPHAL ARCH OF CONSTANTINE. The 
 triumphal arch in the centre, seen from the Colosseum, an arch of which 
 is on the left ; a dwelling-house is built on the right side of the arch ; 
 pilgrims, ladies, and gentlemen in the foreground. On the right two 
 artists sketching the ruins of the Palatine, covered by wood, in the back- 
 ground. 
 
 On Canvas. 2 ft. 10| in. high ; 3 ft. 8^ in. wide. 
 
 1 According to the registers of the Paris Academy ; but it has been generally 
 stated, that he died at Rome in 1690. Passeri says that he died at Venice in 1659. 
 
 2 Sandrart, Teutsche Academie , ccvi. 
 
SWANEVELT , 
 
 157 
 
 The arch of Constantine at Rome, which now stands entirely free, 
 was built in the year 311 by the Romans, in honour of the Emperor 
 Constantine after his victory over Maxentius near the Ponte Molle. 
 
 No. 256 . ITALIAN MOUNTAIN LANDSCAPE. In the fore- 
 ground to the left, a river, crossed by an arched bridge ; a rocky bank 
 beyond ; on the top of it a house with a tower, amongst trees. To the- 
 right, high trees and mountains in the distance. People travelling on 
 the road and over the bridge. Clear blue evening sky. Signed and 
 dated 
 
 SVZLT 
 
 Fa. Paris 
 
 xVs 
 
 On Canvas. 1 ft. 2| in. high ; 1 ft. 9 in. wide. 
 
 The date inscribed on this picture would be of some importance for 
 the history of this artist’s life if it could clearly be deciphered. 
 
 No. 273 . ITALIAN MOUNTAIN LANDSCAPE. To the 
 right on rocks, an old church ; high trees near the declivity of the rocks ; 
 to the left a flat river-landscape. Six figures in the foreground ; blue- 
 sky. 
 
 On Canvas. 1 ft. 2| in. high ; 1 ft. 9 in. wide. 
 
 Nos. 256 and 273 are companion pictures. 
 
TENIERS THE ELDER.— 
 
 Flemish School. 
 
 Born 1582. Died 1649. 
 
 AVID TENIERS, son of Juliaen Tenier or Teniers, 
 a mercer, was born at Antwerp in 1582. In 1596 
 he entered the studio of his elder brother Juliaen 
 Teniers, who in the previous year had been admitted 
 as master into the Guild of St. Luke at Antwerp. He also 
 visited Rome, where he was influenced by Elshaimer. In 1606 
 he was admitted a master into the Guild of St. Luke, and in 
 1608 he married Dympne Cornelissen de Wilde. He worked 
 chiefly at Antwerp, where he died, in 1649. 
 
 David Teniers the Elder painted principally scenes of the life 
 of country people, in which the landscape generally predominates. 
 In his later time he was influenced by his son, David Teniers the 
 younger, whose skill, however, he in no way rivals. 1 The pictures 
 painted by the father are more brownish in tone and harder 
 in design. They both used the same monogram of a T within 
 a D. 
 
 No. 34. MARY MAGDALENE IN A CAVE. In the fore- 
 ground a large cave ; to the right, a waterfall ; in the centre a brook ; 
 near it a hare and a heron ; to the left Magdalene seated, holding a 
 crucifix in her left ; near her lie books, a crane, a scourge, some cabbages, 
 and turnips. View of mountains in the background. Evening sky. 
 Signed and dated 
 
 D Tf/v/rR Iv 
 
 ' 04 
 
 On Panel. 1 ft. high ; 1 ft. 8| in. wide. 
 
 No. 35. A ROCKY LANDSCAPE WITH ST. PETER IN 
 PRAYER. To the left, a large rocky cave, where St. Peter, in brown 
 
 1 Teniers the Elder was as much appreciated by his contemporaries as his son 
 — C. de Bie Het Guldencdbinet , p. Ill, and Sandrart, Teutsche Academic, cxlvi. 
 
TENIERS THE ELDER. 
 
 1 59 
 
 mantle, is kneeling before a crucifix ; before him books and two keys ; to 
 the right the cock near a waterfall. 
 
 Signed, DTenier (the letters T, D, and E are contracted). 
 
 On Panel. 1 ft. high ; 1 ft. § in. wide. 
 
 A tradition, much propagated in ' Flanders, says that the Apostle, 
 whenever he heard the cock crow, used to shed tears for his denial of 
 Christ. 
 
 Formerly described as representing a landscape with a hermit. In 
 these two companion pictures (Nos. 34 and 35), the influence of the early 
 Flemish School of landscape-painters, as for instance Paulus Bril, is to 
 be noticed. This picture shows no trace of the younger Teniers’ influence. 
 Teniers is here still independent of the style of his son. 
 
 No. 56 . A YILLAGE ON FIFE. Night piece. To the left, in 
 the foreground, peasants taking flight, trees behind ; in the middle dis- 
 tance, a village on fire ; behind, a church ; in the centre, a river. Dark 
 sky, with the crescent moon to the left. 
 
 On Panel. 9 in. high ; 1 ft. 1| in. wide. 
 
 Formerly ascribed to Teniers the Younger, but showing an earlier 
 style. 
 
 The following 'pictures are painted under the influence of Teniers the 
 younger : 
 
 No. 46 . SHEPHERD AND SHEEP NEAR A CASTLE, IN 
 AN EVENING LANDSCAPE. To the left, the shepherd stands 
 leaning on his staff, surrounded by his flock ; to the right, a castle near 
 a brook ; some trees, cottages, and a church in the background. Dark 
 sky to the right ; sunset to the left. 
 
 On Canvas. 1 ft. 10|- in. high ; 2 ft. 7£ in. wide. 
 
 A characteristic work of the master. Engraved by R. Cockburn. 
 
 No. 52 . A COTTAGE, WITH PEASANTS PLAYING AT 
 CARDS BEFORE THE DOOR. To the left, a corn-field, with a man 
 mowing ; cottages beyond backed by trees. In the foreground, to the 
 Tight, the gable of a cottage ; before it seven figures ; four of them sitting 
 round a table, smoking and playing. Cloudy sky. 
 
 On Canvas. 10 ft. f in. high ; 1 ft. 2 \ in. wide. 
 
 Engraved by R. Cockburn. 
 
 No. 61 . A PEASANT NEAR A WELL, EATING MUSSELS. 
 To the left, near a well, a peasant seated on the ground • near him a pan 
 with mussels. He is in conversation with another peasant standing 
 opposite him. In the background, a shepherd with sheep near cottages. 
 Blue sky with grey clouds. Signed 
 
 On Panel. 8f in. high ; 1 ft. £ in. wide. 
 
i6o 
 
 TENIERS THE ELDER . 
 
 No. 155 . GIPSIES IN A LANDSCAPE. In the centre, a 
 gipsy-mother sitting on the ground and suckling her child ; a girl standing ! 
 near her. Another gipsy-woman is telling an old man his fortune. In 
 the background, to the left, a castle. Cloudy sky. Signed 
 
 3 / 
 
 On Panel. 8f in. high ; Ilf in. wide. 
 
 Engraved by R. Cockburn. 
 
 Nos. 61 and 155 are probably companion pictures ; they are 
 painted in the silvery tone of the younger Teniers, to whom they were 
 previously ascribed ; the dark outlines, however, are characteristic of the 
 manner of the elder Teniers. 
 
 No. 84. A ROAD NEAR A COTTAGE. To the left, a cottage ; 
 before it two wayfarers, to whom a peasant shows the way. In the dis- | 
 tance, to the right, a shepherd and sheep under trees ; beyond, a pool, j 
 Blue sky with grey clouds. Signed 
 
 £>■/ ; 
 
 On Panel. 81 im high ; in. wide. 
 
 Engraved by R. Cockburn. 
 
 , 
 
 No. 86 . A COTTAGE, WITH TWO FIGURES. To the left, 
 a cottage ; before its door a peasant standing and talking to a servant ; j 
 near them a dog ; another figure inside the door ; a few trees behind. 
 Blue sky with grey clouds.. Signed 
 
 BE 
 
 On Panel. 8f in. high ; 6f in. wide. 
 
 Nos. 84 and 86 are companion pictures; they were both forme ily 
 ascribed to the younger Teniers. 
 
 No. 116 . A WINTER SCENE. Large houses to the left ^pre- 
 parations are being made before a door to kill a pig ; in the middle 
 distance, houses and barns ; a wood behind ; twenty figures around, 
 variously engaged. Dark sky. Signed 
 
 3 / 
 
 On Canvas. 2 ft. 1-| in. high ; 3 ft. ^ in. wide. 
 
 Formerly ascribed to Teniers the Younger. Engraved by Laurent. 
 Smith's Catalogue, No. 603, 
 
TENIERS THE ELDER. 
 
 161 
 
 No. 119. PEASANTS IN CONVERSATION, AND A VIEW 
 OF A VILLAGE. To the right, in front, three peasants standing ; 
 near them a dog ; to the left, in the middle distance, a church and cot- 
 tages surrounded by trees; before them a shepherd with sheep in a 
 meadow. Grey sky. Signed 
 
 On Canvas. 4 ft. high ; 5 ft. 9 in. wide. 
 
 Formerly ascribed to Teniers the Younger. 
 
 No. 148. BUST OF A PEASANT HOLDING A BEER- 
 GLASS. An old man turned to the right, laughing, and holding up 
 a beer-glass with both hands ; brown hat and jacket. Clear blue sky. 
 Signed 
 
 On Copper. 3£- in. high ; 2^ in. wide. 
 
 No. 149. BUST OF AN OLD WOMAN. She is seen in front, 
 the head turned to the left ; a stick in her right hand ; left hand not 
 visible ; greenish dress ; black felt hat. Clear blue sky. Signed 
 
 On Copper. 3£ in. high : 2 \ in. wide. 
 
 Two companion pictures, formerly ascribed to Teniers the Younger. 
 
 The two following ‘pictures are slight sketches by Teniers the Elder : — 
 
 No. 18. WINTER. A peasant in a brown coat and brown folded 
 hat, holding a stick over his shoulder ; walks in a stooping position to 
 the right ; snow lies on the ground and on the cottages in the back- 
 ground. Dark grey sky. Signed 
 
 On Canvas. 2 ft. 2 in. high ; 1 ft. 4| in. wide. 
 
 No. 44. AUTUMN. An inn-keeper, with vine-leaves round his 
 head, stands smiling before his inn ; a jug in his left hand, and holding 
 up a wine-glass with his right ; before him three casks ; a vineyard and 
 trees in the distance. Blue sky with light clouds. 
 
 On Canvas. 2 ft. 2 in. high ; 1 ft. 4-^ in. wide. 
 
 Desenfans’ Catalogue, No. 96. 
 
 M 
 
TENIERS THE YOUNGER . 
 
 1 62 
 
 TENIERS THE YOUNGER.— Flemish School 
 
 Born 1610. * Died 1690. 
 
 AVID TENIERS, son of David Teniers the Elder,, 
 was born at Antwerp in December 1610. He was 
 a scholar of his father, but was also influenced by 
 Rubens, and more especially by Adr. Brouwer. 
 In 1632-33, he was admitted as master into the Guild of St. 
 Luke at Antwerp, to the committee of which he belonged in 
 1644-45. He married Anna Brueghel, daughter of the painter 
 Jan Brueghel, in 1637. Between the years 1648 and 1652 he 
 went to settle at Brussels, where he was appointed Director of the 
 Gallery, and court-painter to the Governor, the Archduke Leo- 
 pold William, and afterwards to his successor, Juan of Austria. 
 There, in 1656, he married again, his second wife being Isabella de 
 Fren. At his instigation, in 1663, an Academy of Art was founded 
 at Antwerp on th'e model of the Paris Academy, and in 1675 he 
 was admitted into the Painters’ Guild of Brussels. He generally 
 lived in the Castle of Drij Toren'at Perck, between Vilvorde 
 and Mechlin, where he died April 25, 1690. 
 
 David Teniers the Younger is reputed to be the greatest 
 genre-painter of all times. He represents in various scenes the 
 exterior life and doings of the peasant-world. His colouring is 
 very delicate in tone, his handling of the brush light and 
 spirited. In their glowing colouring and their transparent 
 brown shadows, his early pictures have something congenial with 
 Rubens ; they are of a cooler tone in his later works, and have 
 a fine grey silver tint in those pictures which are considered 
 his best. The colouring in his latest works is rather heavy and 
 monotonous. 
 
 No. 60. THE PRODIGAL SON AS SWINEHERD. In the 
 centre, a sow; turned to the left, before it, five little pigs ; a pigsty 
 behind ; to the right, the swineherd with a whip ; two cottages with 
 peasants in the background. Blue sky with grey clouds. Signed 
 
 j) rzi'iEPs* y 
 
 On Panel. 9^ in. high ; 1 ft. £ in. wide. 
 
TENIERS THE YOUNGER. 
 
 Of all pictures by Teniers in this Gallery, tbe most brilliant and 
 glowing in colour. 
 
 Engraved by R. Cockburn. 
 
 No. 100. BRICK-MAKING IN. A LANDSCAPE. Brick- 
 makers’ sbeds in the middle distance ; numerous figures about, occupied 
 with brick-making. To the right, a broad river ; to the left, a large 
 church surrounded by trees. Cloudy sky. Signed 
 
 On Panel. 1 ft. 5^ in. high ; 2 ft. 2|- in. wide. 
 
 Very spirited and careful in execution, especially in the figures. 
 Painted under the influence of the elder Teniers ; one of his finest works 
 in this Gallery. 
 
 No. 69. FIGURE OF A PILGRIM. An old man, standing, 
 turned to the left, the head to the right. He is saluting, hat in hand, 
 a pilgrim’s staff in his left ; grey cape, with a cockleshell, the pilgrim’s 
 emblem ; trees in the back. Evening sky. Signed 
 
 On Panel. in. high : 4^ in. wide. 
 
 No. 71. FIGURE OF A FEMALE PILGRIM. An old woman 
 standing, turned to the right, a staff and rosary in both her hands ; she 
 wears a slouched felt hat. A small portable triptych on her waistband. 
 Blue sky with grey clouds. Signed 
 
 On Panel. 6 J in. high ; 4J in. wide. 
 
 Nos. 69 and 71 are companion pictures. 
 
 No. 185. A WHITE HORSE, WITH A CHAFF-CUTTER. 
 In the centre, the horse, standing, turned to the left ; it nibbles at a 
 truss of straw ; a cock and hens are about the yard to the left ; behind 
 the horse, the stable, a servant-girl entering its open door ; two peasants 
 in the door of the courtyard in conversation. To the right, an old man 
 cuts chaff in a box-machine. Blue sky with clouds. Signed 
 
 On Canvas. 1 ft. 10 in, high ; 2 ft. 8 in. wide. 
 
 Formerly in the Collections of Richard Walker (sold 1803, 110 
 guineas) and of the Right Hon. Charles James Fox. ' 
 
 Engraved by R. Cockburn. 
 
 No. 139. A CASTLE AND ITS PROPRIETOR. To the right, 
 a gentleman in a red mantle ; near him a lady in a white dress, in con- 
 
 M 2 
 
 D TfN/ERS 
 
 33 ) /" 
 
 X) Teniers F 
 
1 64 TENIERS THE YOUNGER— TIEPOLO. 
 
 versation with a peasant ; a boy standing behind ; a castle in the dis- 
 tance, and a river with a bridge to the left. Cloudy sky. 
 
 On Canvas. 3 ft. 7f in. high ; 5 ft. 5£ in. wide. 
 
 The gentleman represented in this picture is not Teniers himself, as 
 has been previously stated. 
 
 No. 50 . THE GUARD-ROOM. A page, with a sword in hand, 
 advancing to the left ; before him, the armour and the weapons of a 
 knight ; in the middle ground, an open door, through which passes a 
 soldier with a musket on his shoulder. To the left, a dog ; and in a 
 corner of the room, four men in conversation. Signed 
 
 D Emzrs f 
 
 On Canvas. 2 ft. 3£ in. high ; 1 ft. 9£ in. wide. 
 
 A late work of the artist. 
 
 G. B. TIEPOLO. — Venetian School. 
 
 Born 1696 . Died 1770 . 
 
 IOVANNI BATTISTA TIEPOLO, called Tiepo- 
 letto, was born at Venice April 16, 1696. 1 Plis 
 parents, perhaps of Jewish origin, were dependants 
 of the noble family of Tiepolo, but without being in 
 any way related. He was at first a scholar of Gregorio Lazzarini, 
 an imitator of Paolo Veronese, and of Franceschini, who professed 
 academical tendencies. Afterwards he was influenced by Gio- 
 vanni Battista Piazetta, and still more by the works of Paolo 
 Veronese. In the year 1712 he began to work publicly at 
 Venice, Udine, Verona, Bergamo, and, in 1740, at Milan. He 
 went to Wurzburg in 1750, and returned in 1753. He was 
 appointed first director of the Academy of Painting, which was 
 founded at Venice in 1755. In 1761 King Charles III. of 
 Spain summoned him to Madrid, where he died March 27, 
 1770. 2 
 
 1 G. M. Urbani de Ghellof, Tiepolo e la sua famiglia , note e docomenti inedite. 
 Venice, 1879. Isidor Kronjavcs, ‘G. B. Tiepolo,’ in von Liitzow, Zcitschrift filr 
 J3ild. Kunst, vol. xiv. pp. 162-167, 198-206. 
 
 2 The statement that lie painted the figures in Canaletto’s pictures is very 
 improbable. 
 
TIEPOLO. 
 
 165 
 
 Tiepolo has been rightly called the last great decorative 
 painter of the Venetian School ; his fresco paintings are as im- 
 portant as his pictures on panels : they are conspicuous by their 
 richness in invention, their boldness in the foreshortenings, and 
 their brightness and clear harmony of colour. Whilst he was at 
 Venice he received commissions from Bavaria, Saxony, and 
 St. Petersburg. In Madrid he painted only altar-pieces and 
 ceiling decorations. 
 
 No. 233. DIANA AND APOLLO ON CLOUDS. Diana seated 
 on clouds ; blue drapery ; behind her another female figure. Above, to 
 the right, the god, holding his lyre on his knees ; a Cupid behind him. 
 Blue sky. 
 
 On Canvas. 1 ft. \ in. high ; 1 ft. ^ in. wide. 
 
 No. 236. DIANA ON CLOUDS. The goddess wears a white 
 garment, and holds in her right hand a quiver containing arrows ; to the 
 right two stags ; down below, a female figure with hounds ; two Cupids 
 near Diana. 
 
 On Canvas. 1 ft. £ in. high ; 1 ft. a in. wide. 
 
 Two companion sketches for a ceiling decoration. 
 
 No. 58. ANGELS FLOATING ON CLOUDS. In the centre 
 three angels floating on clouds, one with a cup, another with a trumpet, 
 a third with a wreath of laurels. Above, a Cupid with another wreath. 
 Another Cupid carries the drapery of an angel. Blue sky. 
 
 On Canvas. 2 ft. \ in. high ; 1 ft. ^ in. wide. 
 
 A very facile sketch ; unfinished in its lower parts. 
 
 G. D. TIEPOLO.— Venetian School. 
 
 Born 1726 . Died after 1777 . 
 
 IOVANNI DOMENICO TIEPOLO was born at 
 Venice in 1726. He was a scholar of his father 
 Giovanni Battista Tiepolo, and assisted him with 
 his paintings at Brescia. In 1750 he went with his 
 father to Wurzburg, and afterwards also to Spain. In the New 
 Palace at Madrid are to be found some of his fresco-paintings. 
 According to Cean Burmudez, 1 the artist received a pension 
 
 1 Die cio nano Mstorico de los mas illustres Frofesores de las Bellas Artes en 
 May ana. Madrid. 1800, 
 
TIEPOLO— TITIAN. 
 
 1 66 
 
 from Charles I II., and died in Spain. But, as there is a picture 
 by him at Padua, in the Church of St. Agnese, signed and dated 
 1777, it may be conjectured that he returned to Italy. 1 
 
 He is a close follower of his father, whose works he often 
 copied. His touch and execution are less spirited, although 
 more careful. 
 
 No. 99. JOSEPH RECEIVING PHARAOH’S RING. To the 
 left Pharaoh sitting, a turban on his head; Joseph to the right, clad in 
 a yellowish dress and red mantle, bows low to receive the ring from him. 
 In the left corner, a Moor, with his back to the spectator, a knight with 
 a flag, and a boy, stand near Joseph. In the background, between two Cor- 
 inthian columns, two trumpeters ; a balcony above ; blue sky ; the figures 
 are three-quarter length, life-size. 
 
 On Canvas. 3 ft. 4£ in. high ; 5 ft. 10 in. wide. 
 
 Formerly ascribed to Giovanni Battista Tiepolo ; in execution more 
 elaborate than the authentic works of this master, and therefore to be 
 attributed to his son, Gian Domenico. Bright in colouring. An important 
 work of this master. 
 
 TITIAN.— Venetian School. 
 
 Born 1477. Died 1576. 
 
 IZIANO VECELLIO, orVECELLI, called TITIAN, 
 was born at Pieve di Cadore, in the mountains north 
 of Venice, in 1477. When about ten years of age, 
 he came to Venice, and was taught painting by 
 some unknown master, but afterwards came under the in- 
 fluence cf Giorgione. He competed with him in the fresco- 
 paintings of the Fondaco de’ Tedeschi at Venice, and worked at 
 Vicenza and Padua. In 15 11 he returned to Venice, and entered 
 the service of the Duke Alfonso I. of Ferrara. In 1530 at 
 Bologna he became acquainted with the Emperor Charles V., 
 and in 1532 he met him again in that town. With the Duke 
 Frederigo Gonzaga he went to Mantua, travelled to Rome in 
 1545, three years later to Vienna, and in 1548 to Augsburg. 
 He died at Venice August 27, 1576. 2 
 
 1 Della Pittura Vencziana, p. 475. 
 
 2 Crowe and Cavalcaselle, Life and Works of Titian . Vasari, Vite de ’ Pittori. 
 
TITIAN. 
 
 1 6j 
 
 With Titian, Italian painting reaches its height with regard 
 to pictorial conception and bright colouring, and also in the 
 freedom in the rendering of the forms and movements. 
 
 No. 40 . {After Titian.) BUST OF ST. BARBARA. Turned to 
 the right, the head seen in profile ; fair hair falling down on her neck ; 
 low black bodice ; arms in sleeves ; a white veil over it ; the left hand 
 on the turret, her distinctive emblem. Dark background. 
 
 On Panel. 13| in. high; in. wide. 
 
 Formerly attributed to Parmigiano. It is an old copy, with very 
 slight variations of the life-size figure of St. Catherine of Alexandria 
 introduced by Titian in his large altar-piece ‘ L a Madonna di Sail 
 Niccolo,’ painted in 1523 ; now in the Pinacoteca of the Vatican at Borne. 
 
 No. 323. (After Titian.) POBTBAIT OF ELEONOBA, DUCHESS 
 OF UBBINO. Half-length figure, life-size, standing in front, the hair 
 twisted and adorned with strings of pearls ; black satin pelisse, drawn 
 together with both hands, and leaving the right breast uncovered. A 
 bracelet on the right arm. Dark background. 
 
 On Canvas. 2 ft. 11 in. high ; 2 ft. 1 in. wide. 
 
 An exact copy after the original by Titian in the Belvedere Gallery 
 -at Vienna, I. 2, No. 35. Eleonora, Duchess of Urbino, a descendant of 
 the Gonzaga family, was born in 1474, and married the Duke Francesco 
 in 1490. The original at Vienna is erroneously described as representing 
 the mistress of Titian ; but the features of this portrait, which closely 
 resemble Titian’s so-called Venus of Urbino (Uflizi Gallery at Florence, 
 No. HIT), and the so-called Bella di Tiziano (Pitti Gallery, No. 18), 
 also perfectly agree with the authentic portraits of this Duchess. It is 
 therefore beyond doubt that the picture before us, in the Dulwich College 
 Gallery, represents the said Duchess of Urbino, when about forty years of 
 
 ^ge - 1 
 
 Formerly described as being a portrait of a girl, painted after Bubens. 
 
 No. 263. (After Titian.) VENUS AND ADONIS. Venus 
 undraped, with her back turned towards the spectator, seated on a bank, 
 -embracing Adonis, who stands in the centre and turns away from her ; 
 to the right three hounds ; to the left, in the background, a sleeping 
 O upid. Cloudy sky. 
 
 On Canvas. 5 ft. 9| in. high ; G ft. 2 in. wide. 
 
 A late copy after the original, now in the Museum del Prado at 
 Madrid. In a letter written during the autumn of 1554 Titian sent 
 -congratulations to the new King Consort of England, Philip II. of 
 Spain, when forwarding the Adonis, writing, Ghat if in the Danae 
 picture the forms were to be seen front-wise, here was occasion to look 
 
 Tausing, Tizian und (lie Herzogin von TJrt)ino. Leipzig, 1878. 
 
1 68 
 
 TITIA N— TUR CHI . 
 
 at tliem from a contrary direction, a pleasant variety ..... for the- 
 ornament of a camerino/ 1 
 
 No. 230 . (After Titian.) EUROPA ON THE BULL. To the right r 
 the bull with a garland of flowers round his head ; Europa struggles on 
 the back of the beast, holding with her left hand one of his horns ; she- 
 is dressed in a white garment ; a red drapery in her left hand ; to the left, 
 Eros clinging to a dolphin, sporting along in the course of the bulk 
 Beyond, on the distant shore, lamenting women, and two bulls; .above, 
 two Cupids. Blue sky with clouds. 
 
 On Canvas. 1 ft. 6 in. high ; 1 ft. Of- in. wide. 
 
 The original, painted for the King of Spain about 1562, is now at 
 Cobham Hall, in the Collection of Lord Darnley. Nothing betrays here 
 more the aged character of Titian than the inevitable looseness of drawing 
 and the coarse delineation of realistic extremities. Crowe and Caval- 
 caselle have already rightly stated that this sketch of Europa in the 
 Dulwich College Gallery is an old copy taken from the picture at Cobham 
 Hall. 2 
 
 TURCHI. 
 
 Born 1580. . Died 1651. 
 
 LESSANDRO TURCHI, of Verona, born in 1580,. 
 called also L’Orbetto and Alessandro Veronese, was 
 first a scholar of Felice Brusasorci. After that 
 artist’s death in 1605 Turchi finished his incompleted 
 pictures. He is said to have studied afterwards at Venice. He 
 settled at Rome, and there created a separate style of his own. 
 Married to a Roman lady, he very often took her as a model for 
 his pictures. He died at Rome in the year 165 1. 3 
 
 Occasionally he imitated Annibale Carracci and Guido Reni,. 
 especially in the character of his heads, but in general his style 
 may be called an independent eclecticism. He also occupied 
 himself with chemical problems for mixing colours. His scholars 
 were Giovanni Ceschini and Giovanni Battista Rossi, called II 
 Gobbi no. Turchi’s pictures were esteemed for the noble ex- 
 pression of his portraits and the reddish tone in his colouring. 
 His subjects were scriptural, historical, and especially mytho- 
 
 1 Crowe and Cavalcaselle, Titian, vol. ii. p. 237. Another copy is in the Na- 
 tional Gallery, No. 34. 
 
 2 Titian, p. 324 : ‘ A much finer sketch, probably by a Spanish artist, is in Sir 
 Richard Wallace’s Collection.’ 
 
 3 Lanzi, Storia Pittorica, iii. 106— IDS ; C. Brusasorci, Studj soj?ra la Storia 
 della Pittura Italiana. Verona, 1864. 
 
TURCHI. 
 
 169 
 
 logical. Turchi’s pictures are very numerous at Verona, and 
 are also found in the galleries of Dresden, Paris, Madrid, and 
 others. 
 
 No. 345 . A VENETIAN PROCURATOR PRESENTED TO 
 THE VIRGIN BY THE BLESSED LORENZO GIUSTINIANI. 
 On the right the Madonna, on an elevated seat, violet dress, blue mantle. 
 She bends forwards, holding on her lap the infant Christ, who is in act 
 of blessing. An angel stands behind her, another before her, holding a 
 candle. Opposite her a Venetian Procurator kneels in adoration. He is 
 dressed in a scarlet and ermine robe of state. Behind him is the blessed 
 Lorenzo Giustiniani in a grey coat. Near him an attendant figure 
 bearing a processional cross. Two angels are floating over the scene, 
 one carrying a lamp. Grey background. 
 
 On Block Marble. Arched Top. 1 ft. 7 in. high ; Of in. wide. 
 
 San Lorenzo Giustiniani of Venice was born in 1380. He became 
 distinguished in his retirement for his indefatigable care of the poor, for his 
 penances, and his mortification. By Pope Eugenius IV. he was created 
 Bishop of Castello, and afterwards first patriarch of V enice. He died in 
 1455. The people believed that the Republic had been saved from 
 plague, war, and famine by his prayers and intercession. He was beati- 
 fied by Clement VII. in 1524, but not canonised until 1690, by a decree 
 of Alexander VIII., a Venetian. In Turchi’s picture, therefore, his head 
 is not surrounded by a nimbus. A contemporaneous portrait of him, 
 by Gentile Bellini, has been lately added to the Academy at Venice. 
 His portrait has been painted also by Vittore Carpaccio and by Porde- 
 none in his masterpiece, the ‘ Glory of the Saint,’ which is also in the 
 Academy of Venice. 
 
 Nagler describes the picture in his ‘ K iinstlerlexicon,’ and mentions 
 that it Was ascribed to Paolo Veronese. 
 
 Waagen, e Treasures of Art in Great Britain,’ ii. 347, mentions the 
 picture under the name of Turchi, giving, however, an incorrect description 
 of it. According to him it was formerly called P. Veronese, an ‘ Adoration 
 of the Kings.’ 
 
 
 
UMBRIAN SCHOOL. 
 
 Unknown Artist of the Sixteenth Century. 
 
 No. 287. THE VIRGIN WITH THE INFANT SAVIOUR. 
 The Virgin, a three-quarter length figure, sitting in front, her face 
 turned to the right ; low crimson dress, a bluish-green mantle, violet 
 headdress. She holds the infant Christ standing on her lap ; his hands 
 are on his mother’s neck, whilst his face is turned towards the spectator. 
 A landscape in the background. Blue sky with clouds. 
 
 On Panel. 2 ft. § in. high ; 1 ft. 5 in. wide. 
 
 The design and the character of the composition in this totally over- 
 painted picture betray the influence of Perugino and Pinturicchio. 
 Formerly ascribed to L. da Vinci or his School. 
 
VELAZQUEZ.— Spanish School. 
 
 Born 1599. Died 1660. 
 
 ON DIEGO VELAZQUEZ DE SILVA was born 
 at Seville, where he was baptized, June 6 , 1599. 
 He was a pupil of Francisco Herrera the Elder, an 
 excellent colourist, and of Francisco Pacheco of 
 Seville ; he also studied Italian and Flemish pictures and the 
 works of Luis Tristan of Toledo. In 1622 he went to Madrid, 
 where he devoted himself to the study of the various works of 
 art, especially to those of the Venetian School in the Escurial. 
 He entered the service of Philip IV. of Spain, who created him 
 his court-painter. The Duke of Olivarez was his protector, and 
 when Rubens was at Madrid he became his friend. In the years 
 1630 and 1649-51 he visited Italy. Velazquez was married 
 April 23, 1618, to the daughter of his master at Seville, Doha 
 Juana Pacheco, by whom he had two daughters. On August 7, 
 1660, he died at Madrid. 1 
 
 In his early works he imitated Ribera. Most of the pictures 
 which he painted at Madrid were for the King. Besides portraits, 
 he also painted historical compositions, interiors, landscapes, 
 genre and still-life pictures, very seldom religious subjects ; out 
 of Spain he is only known by his portraits and small composi- 
 tions. Velazquez is the greatest artist during the 17th century, 
 not only of Spain, but also of all the South European nations. 
 In contrast with Murillo, his pictures are remarkable by their 
 manly seriousness of conception. His portraits give a firm and 
 decided character of the individual, and their pictorial perfection 
 is as great as their imposing conception. 
 
 No. 309. PORTRAIT OF PHILIP IV. OF SPAIN. Three- 
 quarter length figure, life-size; turned to the left; red doublet, with 
 
 1 Don Pedro de Madrazo, Catalogo historico y descriptivo del Mnseo del Prado 
 de Madrid . Parte primiera, ‘ Escuelas Italianas y Espanolas.’ Madrid, 1872. 
 
172 
 
 VELAZQUEZ— VAN DE VELDE . 
 
 silver embroidery, white silk sleeves and white flat collar ; the left arm on 
 his sword ; the one hand holding a black hat ; in his right hand his staff. 
 Greyish background. 
 
 On Canvas. 4 ft. 2£ in high ; 3 ft. If in. wide. 
 
 Philip IV. was born in 1605 ; he became King of Spain in 1621, and 
 died in 1665. 
 
 A genuine work of the master ; in some parts the original colour is 
 lost by cleaning, as in the forehead and in the left hand. The background 
 has been re-painted. The harmony of the clear colours is very seldom 
 to be met with in Velazquez’s pictures. ‘ It is clear and tender, like the 
 finest Metzu. A masterpiece in colouring and eminence.’ — W. Burger. 1 * * 
 
 No. 194. (After Velazquez.) BON BALTASAB CABLOS, 
 PBINCE OF ASTUBIAS, ON HOBSEBACK. The prince, a boy 
 of six or seven years of age, is riding a brown horse, which gallops to- 
 wards the front ; the infant is dressed in a velvet coat, pink scarf, leather 
 boots, and black hat. A baton in his right hand. Hilly landscape, grey- 
 blue sky. 
 
 On Canvas. 3 ft. 2 in. high ; 2 ft. 7f in. wide. 
 
 Bon Baltasar Carlos, Prince of Asturias, son of Philip IV. and of 
 Elizabeth, daughter of King Henry IV. of France, did not live to ascend 
 the throne. The Original, a life-size portrait, is No. 1068 in the Museo 
 del Prado at Madrid, where the landscape is richer in details. The 
 picture in the Bulwich College Gallery is an exact old copy. Mentioned 
 by Waagen, ‘ Treasures of Art,’ vol. ii. p. 30, and W. Burger, 4 Velasquez,’ 
 p. 270, No. 107. 
 
 A. VAN DE VELDE.— Dutch School. 
 
 Born 1639. Died 1672. 
 
 DRIAEN VAN DE VELDE was born at Amsterdam 
 in 1639. His father, Willem van de Velde the Elder, 
 a marine painter, instructed him at first. He early 
 began the study of landscape-painting, to which end 
 he entered the studio of J. Wijnants, in Harlem, and also 
 studied under the direction of Philips Wouwerman. He died at 
 Amsterdam, when thirty- three years of age, in January 1672. 
 
 He comes very near to Paulus Potter in the individual con- 
 
 1 W. Burger, Velasquez et ses oeuvres. Par W. Stirling. Traduit de V Anglais. 
 
 Pan' G. Brunet. Area des notes et un Catalogue des Tableaux de Velasquez. Par 
 W. Burger. Paris, I 860 , pp. 278, 110, 309 : ‘ Portrait de Philippe IV. Presque de 
 profit vers la gauche. . Debout, vu jusqu'aux genoux. De la main droite avancee, 
 il tient le baton de commandement, et dans la main gauche son chapeau noir a 
 
 grand bord. Le pourpoint est d’une rose carmelin ; les manches dans les tons de 
 
 perle. C’est clair et tendre comme le plus tin Metzu. Chef d 'oeuvre de couleur 
 et de distinction.’ 
 
 
VAN BE VELDE. 
 
 1 73 
 
 ception of the animal world, but shows more pictorial ability in 
 his landscapes ; they are characterized by a fine grey tone, a 
 hazy sunlight, extending over the landscape, and a delicate 
 careful execution. He often painted the figures in the land- 
 scapes of J. van Ruisdael, Hagen, J. van der Heijde, Wijnants, 
 Verboom, Hackaert, Hobbema, Philip de Koninck, Moucheron, 
 and others. 
 
 No. 72 . COWS AND SHEEP IN A WOOD. In the foreground 
 a reddish cow, turned to the left and drinking from a brook ; another 
 stands behind her ; to the right, four sheep, three lying on the ground ; 
 two figures sit on a path leading into the wood. Cloudy sky. 
 
 On Panel. 7 in. high ; 9 in. wide. 
 
 Soft in tone, of a very delicate chiaroscuro. 
 
 Engraved by R. Cockburn. 
 
 No. 108 . (After A. van de Velde.) SHEPHERDS AND CATTLE 
 NEAR A BROOK. To the left, a woman sitting with her feet in the 
 water and drinking from a pool ; beside her a herdsman. To the right, 
 three cows and two sheep under trees. Bushes and hills in the back- 
 ground. Evening sky. 
 
 On Panel. Ilf in. high ; 1 ft. 2 in. wide. 
 
 Engraved by R. Cockburn. 
 
 W. VAN DE VELDE THE YOUNGER.— 
 Dutch School. 
 
 Born 1633. Died 1707. 
 
 ILLEM VAN DE VELDE the Younger was born 
 at Amsterdam in 1633. He was a son of the marine 
 painter, Willem van de Velde the Elder, and an 
 elder brother of Adriaen van de Velde. After 
 having been instructed by his father, he visited the studio of 
 Simon de Vlieger, who at that time was rightly esteemed as the 
 best marine painter. In 1675 he and his father were summoned 
 by King Charles II. to England, and two years later they re- 
 ceived an annual salary of 100/. each. After the death of the 
 King, Willem went back to Amsterdam (1686), but King 
 James II. summoned him again to England, where he died April 
 7, 1707, at Greenwich. 
 
174 
 
 VAN DE VELDE. 
 
 Willem van de Velde the Younger is rightly esteemed the 
 greatest marine painter of all times. His sea battles and fleets 
 (executed generally for various courts) are excellent, but much 
 greater praise is due to his simple marine views, in which he 
 depicts, with a high artistic perfection, the sea in its various con- 
 ditions and moods, and with it the charm of aerial perspective. 
 
 No. 186. A CALM. In the immediate front a sandy shore, from 
 which a boat is being pushed off, numerous ships in the middle and far- 
 off distance ; blue sky with evening clouds. Signed and dated 
 
 W V V iVA 
 
 On Canvas, strained on Panel. 1 ft. 1 in. high ; 1 ft. 2^- in. wide. 
 
 An early work of the master, important by reason of its authentic 
 date. Smith’s Catalogue, No. 39. Engraved by R. Cockburn. 
 
 No. 113. A CALM. Four small ships and two boats in the centre, 
 near the front ; two large boats and ships on the right and on the left, 
 in the middle distance, with a busy crew in the riggings. A cannon is fired 
 off from the one on the left ; blue sky with clouds. 
 
 wy 
 
 On Canvas, strained on Panel. 1 ft. 11|- in. high ; 2 ft. 5-| in. wide. 
 
 Remarkable by its great clearness in tone. Mentioned by Waagen. 1 
 
 No. 166. A BRISK GALE. Near the front, two sailing-boats, 
 larger ships in the background. Blue sky with grey clouds. Signed 
 
 V/ V V 
 
 On Canvas, 1 ft. in high ; 2 ft; i in. wide. 
 
 Painted in a delicate grey tone; the motion of the waves very 
 naturally rendered ; the warm evening light is most happily rendered. 
 Every part is exquisitely finished. Smith’s Catalogue, No. 40. Engraved 
 by R. Cockburn. Mentioned by Waagen. 2 
 
 1 Treasures of Art in England , vol. ii. pp. 344-345. 
 
 2 Ibid. p. 345 : — ‘View of the Texel. The sea slightly agitated, enlivened by 
 fishing-boats. A warm evening light, happily blended with the delicate silver 
 tone of the master, and the most exquisite finish of all parts, make this one of 
 his most charming pictures.’ 
 
VENETIAN SCHOOL . 
 
 175 
 
 VENETIAN SCHOOL, — Unknown Artists. 
 
 No. 128. A MUSICAL PARTY. A group of three figures, half- 
 length, small life-size ; in the foreground a lady, turned to the right, 
 and looking towards the spectator. She is leaning on a balustrade, a 
 music-book in her hands. Low crimson dress, with puffed sleeves, large 
 hat with white feathers ; two men behind her singing, one seen in pro- 
 file, the other facing the spectator. 
 
 On Panel. 2 ft. H in. high ; 1 ft. 10 in. wide. 
 
 Formerly ascribed to Giorgione, with whose style it has nothing in 
 common. * 1 The picture has been much re-painted, but in some parts, which 
 are still original, it recalls the School of Palma Vecchio, and of Bonifazio,. 
 in the earlier part of the sixteenth century. 
 
 No. 193. A YOUNG MAN DRAWING. A youth, three-quarter 
 length figure, life-size, sitting on a chair and holding a portfolio and 
 paper, on which he is drawing. His head is seen in front ; violet dress 
 and white sleeves, black hair, dark background. 
 
 On Canvas. 3 ft. high ; 2 ft. 3^ in. wide. 
 
 Broadly painted, with dark colours, by an unknown artist of the latter 
 part of the sixteenth century, influenced by Tintoretto and Palma 
 Giovane. 
 
 Formerly ascribed to Salvator Rosa. 
 
 No. 268. ST. CATHERINE. The Saint, a whole-length figure, 
 is seated in front ; fair hair, with a crown on it ; brown dress and white 
 mantle, on her knees. She leans on a wheel, and holds a palm-branch in 
 her right hand. 
 
 On Canvas. 4 ft. 2\ in. high ; 3 ft. ^ in. wide. 
 
 A pasticcio, painted in imitation of Palma Giovane and Titian. 
 Formerly ascribed to Paolo Veronese. 
 
 Desenfans’ Catalogue, No. 39. 
 
 No. 284. THE RAPE OF PROSERPINA. To the left, Pluto 
 lifting Proserpina on to a car ; a Cupid holds the reins of two black 
 horses, which are rushing down into the inferno. Dark clouds. 
 
 On Canvas. 2 ft. 1£ in. high ; 1 ft. 7 in wide. 
 
 Very spirited in conception. Formerly ascribed to P. F. Mola. 
 It has been painted under the influence of Titian as regards the draw- 
 ing of the figures. Titian had treated the same subject in a picture for 
 the Duke of Mantua, but it has been lost. 
 
 1 Mrs. Jameson, Handbook of Public Galleries , p. 462 : ‘ There is no trace of 
 
 I Giorgione left in this picture, whatever it may have been once.’ Crowe and 
 Cavalcaselle consider it to be painted in the School of Lotto or Savoldo. 
 

 i;6 VENETIAN SCHOOL— VERBOOM. 
 
 No. 304 . VENUS. Tenus, undraped, lying on a violet cushion ; 
 red curtains on each side of her head; Cupid with a dart in his hand 
 bends over Yenus; to the right, a terrace with a balustrade and columns; 
 a landscape beyond. 
 
 On Canvas. 3 ft. 4 in. high ; 6 ft. 1 in. wide. 
 
 Painted in imitation of Titian’s Yenus, now in the gallery at Darm- 
 stadt (No. 520), by an artist belonging to the School of Bassano and 
 Tintoretto. 1 
 
 No. 352 . NUDE BOYS PLAYING IN A LANDSCAPE. Two 
 boys in the foreground near a large vase and a Hermes ; a group of four 
 others behind on a meadow ; in the distance a hill ; blue sky. 
 
 On Canvas. 8^ in. high ; 1 ft. f in. wide. 
 
 A pleasing and attractive sketch, painted in the manner of Schiavone. 
 Eormerly ascribed to N. Poussin. 
 
 VERBOOM.- Dutch School. 
 
 Born before 1630. Died after 1663. 
 
 H. VERBOOM (or VER BOOM) was born at Har- 
 lem, where he worked as a landscape painter, in 
 the middle of the seventeenth century. There is 
 ® nothing else known about his life. 
 
 His earliest pictures are dated 1653. They come very near 
 to the earlier works of Jacob van Ruisdael. In several of his 
 pictures the figures are painted by Lingelbach and Adriaen van 
 de Velde, from which we may conclude that he stayed at ( 
 Amsterdam between the years 1653 and 1663. He painted 
 especially quiet forest views, of a deep-toned colouring in his 
 early period, and of a weak sketchy execution in his later time. 2 
 
 No. 201 . A CHURCH NEAR A WOOD. To the right, the 
 -edge of a wood, and two wayfarers on a pathway ; a village church in the 
 centre of the middle distance ; to the left, a pollard-stump ; cloudy sky. 
 
 On Panel. 1 ft. 5 in. high ; 1 ft. 9 in. wide. 
 
 Painted in a fresh greenish harmony. Formerly labelled ‘Unknown;’ 
 in Mr. Cockburn’s Catalogue (about 1818) ascribed to Hobbema. 
 
 
 1 Crowe and Cavalcaselle, ‘Titian,’ vol. ii. p. 237. 
 
 2 Kramm, De Levens, vi. deel, p. 1702 ; i. deel, p. 121. Immerzeel, iii. deel, p. 169 
 Bode, ‘ Die Kiinstler von Harlem,’ in von Liit ow, Zeitsclirift flir Bildende Kunst , 
 vol. vii. p. 348. 
 
 
VERNE T. 
 
 1 77 
 
 VERNET.— French School. 
 
 Born 1714. Died 1789. 
 
 LAUDE JOSEPH VERNET was born at Avignon, 
 August 14, 1714. He received his primary instruc- 
 tion from his father, Antoine Vernet, a clever artisan, 
 who painted decorations, and who sent his son by 
 vay of Marseilles to Rome, in order to enable him to make 
 ;erious studies. On this sea-voyage, he resolved to become a 
 narine painter, for which purpose, in 1732, he entered the studio 
 )f Bernardino Fergioni, a marine painter in Rome. He visited, 
 n company with Pannini and Solimena, the ruins and environs 
 )f Rome for the purpose of study. In 1753, being recalled by M. 
 le Marigny, he returned to Paris, and was admitted as a member 
 )f the Royal Academy in the same year. By order of Louis XV. 
 le painted a series of the harbours in France, a work which 
 >ccupied him for nine years. He died at Paris, December 3, 
 :/8 9. Horace Vernet, the celebrated modern French painter, 
 vas his grandson. 
 
 His earliest landscapes show the influence of Salvator Rosa, 
 fhe pictures of his developed style are not of a less distinguished 
 olour than those by the Dutch landscape painters, or those by 
 Claude le Lorrain. He liked to introduce numerous figures. 
 
 No. 202. ITALIAN LANDSCAPE. O 11 the left, high rocks, with 
 waterfall ; to the right, in the foreground, a road, where oxen draw a 
 ehicle, loaded with blocks of marble ; various figures about ; blue sky 
 dth clouds. Signed 
 
 On Canvas. 3 ft. 11 in. high ; 5 ft. 7^ in. wide. 
 
 Pine chiaroscuro is prevailing in this early work of the master. 
 Formerly in the Calonne Collection. Mentioned by Waagen. 1 
 
 Treasures of AH, vol. ii. p. 318. 
 
1 78 
 
 VERNE T— VERONESE. 
 
 No. 49 . {School of Cl. J. Vernet.) VIEW OF THE HARBOUR 
 OF GENOA. To the right, steep rocks, with a high gate ; in the \\ 
 foreground, figures, mostly occupied with fishing ; in the background, a (' 
 lighthouse ; an English frigate to the left. Bright cloudy sky. 
 
 On Canvas. 3 ft. G in. high ; 4 ft. wide. 
 
 VERONESE. — Venetian School 
 
 1 
 
 ft 
 
 h 
 
 Born 1528. 
 
 Died 1588. 
 
 AOLO CALIARI, called VERONESE, was born at 
 Verona in 1528. His father, Gabriele Caliari, a 1 
 sculptor, taught him at an early age to draw and to 
 model, but as he showed more inclination for paint- 1. 
 ing, he was sent to his uncle, the painter Antonio Badile. He is ^ 
 also said to have visited the studio of Giovanni Carotto of J 
 Verona. 1 After having worked independently for a short time 
 at Verona, Mantua, and Vicenza, he settled at Venice about 
 1554. Fie visited Rome about 1563, where he studied thel y f 
 classical works of art and the antique. When he returned to 
 Venice, he developed quite an extraordinary activity in that 
 town and its environs. He died at Venice, April 19, 1588. 
 
 Paolo Veronese, although in his art dependent on Titian, 
 was originally a scholar of the Veronese School, where he was 
 especially influenced by Paolo Morando, called Cavazzola and 
 Brusasorci. Before he came to Venice he was a celebrated J 
 artist. He is certainly the greatest decorative painter. The ;; 
 various groups in his great compositions are always well distri- y 
 buted, although fantastically arranged. His colour is as rich as 
 it is clear and glowing. 
 
 : ; pai: 
 
 No. 333. A SAINT BLESSING A VENETIAN GENTLE- ' 
 MAN. To the right stands the Saint, in a cardinal’s dress, grey gloves 
 on his hands; he holds the model of a church in the folds of his mantle, t 
 and lifts up his right hand, blessing a Venetian gentleman in black - 
 dress, kneeling on his right side ; two Ionic columns in the background ; 
 blue sky with light clouds. Whole-length figures, life-size. 
 
 On Canvas. 7 ft. 4^ in. high ; 4 feet wide. 
 
 A genuine work of the master, and very dignified in conception and 
 cool in tone. 
 
 1 Vasari, Vita dc Pittori. 
 
VERONESE — VER WIL T. 
 
 179 
 
 It is a part of a composition which is formed by four large pictures ; 
 two others being in possession of the Duke of Sutherland ; 1 a third at 
 Castle Howard. 
 
 Mentioned by Waagen. 2 
 
 No. 203. {School of P. Veronese.) PORTRAIT OF A YOUNG 
 LADY. Three-quarter length figure, small life-size, standing in front, 
 the head turned to the left ; white satin dress draped with red ; the left 
 hand on a book, which is placed on a table. A column to the right ; 
 dark background. 
 
 On Canvas. 3 ft. \ in. high ; 2 ft. in. wide. 
 
 Painted by an unknown Venetian artist under the influence of 
 P. Veronese, to whom it was formerly ascribed. 
 
 No. 289. {School of P. Veronese.) THE MARRIAGE OF ST. 
 CATHERINE. The Virgin enthroned with the nude infant Christ in 
 her lap ; to the left, St. Catherine, kneeling ; a white silk dress and 
 brown mantle ; an angel kneeling behind her. A cherub with a palm 
 floating above. To the right, St. Joseph sitting on steps. 
 
 On Canvas. 3 ft. 7^- in. high ; 2 ft. 9£ in. wide. 
 
 Painted by an unknown Venetian artist, in imitation of Paolo 
 Veronese, to whom this picture has been formerly ascribed. 
 
 Desenfans’ Catalogue, No. 40. 
 
 VERWILT.— Dutch School. 
 
 Born 1598. Died after 1669. 
 
 RANQOIS VERWILT was born at Rotterdam in 
 1598. He at first perfected himself as a landscape- 
 painter under Cornells Dubois, and afterwards under 
 Poelenburg*. He was still living in the year 1669. 
 Very little is known of his life or works. That he also 
 painted portraits besides landscapes is proved by the fact that 
 n the Museum at Amsterdam 3 a large life-size portrait of the 
 ;on of the Lieutenant- Admiral Aart van Nes bears the signa- 
 ure F. Verwilt, 1669. 
 
 1 See Catalogue of Pictures in Stafford House (London, 1878). ‘No. 24, P. 
 Veronese : A Venetian nobleman and a bishop. No. 97, P. Veronese : A PietA 
 Che upper portion of a large picture, of which No. 24 forms a part. A third 
 portion is at Dulwich, and the fourth at Castle Howard.’ 
 
 2 Treasures of Art in Great Britain (London, 1854), vol. ii. p. 346 : ‘A cardinal 
 Laving the benediction : beside him the donor kneeling. The companion to the 
 picture in the Collection of the Duke of Sutherland, and though I do not like it so 
 veil, the characters are dignified.’ 
 
 3 No. 435. 
 
 BT 2 
 
VER WIL T— VICTORS. 
 
 180 
 
 No. 105 . JUPITER AND ANTIOPE. To the right, the nymph 
 undraped, and a Cupid sleeping ; a blue and a white drapery on the ; 
 ground ; a satyr stands behind, laughing ; rocks, bushes, and trees in 
 the background ; blue sky. Signed, 
 
 I 
 
 f* f vTih. 
 
 On Panel. 1 ft. 3£ in. high ; 1 ft. 6 in. wide. 
 
 Painted in imitation of Poelenburg, to whom it has been formerly 
 ascribed. Pictures with signatures by this master are exceedingly rare. 
 
 VICTORS.— Dutch School. 
 
 Lived during the Middle of the Seventeenth 
 
 Century. 
 
 'AN VICTORS, who signed his name also VICTOR, 
 VICTOOR, or FICTOOR, worked in Holland be- 
 tween the years 1640 and 1662, according to the 
 dates on his pictures. 
 
 He was a scholar of Rembrandt, in whose studio he must 
 have worked from 1635 to 1640. He painted portraits and 
 historical compositions with life-size figures, besides landscapes, 
 genre pictures, peasant feasts, fairs, and similar subjects. He 
 acquired a taste for the picturesque, and for vigorous colouring 
 in the studio of Rembrandt. His colours are of a forcible 
 impasto and generally of deep tones. 
 
 No. 272 . ISAAC BLESSING JACOB. To the right, Isaac 
 sitting on a bed covered with a reddish-brown carpet ; he is seen in front. 
 Jacob kneels, in a rich violet dress, before him ; in the centre, on his 
 back, a quiver with arrows ; behind him, a table with some meat on it. 
 Opposite him, on the left side of Jacob, is Rebecca standing. To the 
 left, in the background, Esau entering through the open door. The figures 
 are life-size. 
 
 On Canvas. 2 ft. 3 in. high ; 6 ft. 6^ in. wide. 
 
 Formerly ascribed to Rembrandt. This picture is much damaged by 
 re-painting, but in those parts where the original colour is still to be 
 
VICTORS . 
 
 181 
 
 noticed, for instance in the quiver on the bach of Isaac, it clearly betrays 
 the style of J. Victors. Rembrandt treated the same subject in one of 
 his finest pictures, dated 1656, which is now in the Gallery at Cassel ^ 
 this picture was imitated not only by Victors, but also by other 
 scholars of Rembrandt — Lievens, Bol, Backer, Elinck, Eckhout, S. 
 Koninck, and de Gelder. 
 
 Smith’s Catalogue, No. 10 and No. 11. 
 
 
WATTEAU.— French School. 
 
 Born 1684. Died 1721. 
 
 NTOINE WATTEAU, son of a tiler, was born at I 
 Valenciennes, in France, October 10, 1684. Though 
 without any means, he wandered to Paris in order] 
 to study painting, and there he at first found employ- 
 ment in the shop of a common picture-dealer. After working 
 for the painters, Gillot and Audran, he became independent 
 through an original picture. He went to Valenciennes for a short 
 time, but returned to Paris, where he was acquainted with the 
 celebrated amateur Crozat, in whose valuable collection of old 
 masters he made studies. Given to melancholy by nature, he 
 soon retired into solitude. He tried in vain to gain the first prize 
 of the Royal Academy, in order to be able to go to Italy, but] 
 was finally admitted as a member in 1717. In 1720 he paid e 
 visit to London. He was obliged, through his poor state ol 
 health, to retire to Nogen t (near Paris), where he died July 18 
 1721. 
 
 What distinguishes him most is the kind of subjects he; 
 treated and the delicacy and ingeniousness with which he painted 
 The design of the movements and the composition of the group. 1 
 of figures are very natural ; they always have the true charactei 
 of the persons they are meant to represent. His subjects an 
 fetes galantes, balls, romances, and intrigues ; a society of cour 
 tiers, comedians, musicians, dancers, and all those who pas. 1 
 their lives in amusing others, or being amused, and with whon 
 pleasure seems to be the sole end of life. His colouring is ver)| 
 brilliant, soft, and harmonious. Although his landscapes form 
 as it were, only the part of side-scenes, they are still of a certaii | 
 magic effect. 
 
 No. 210 . A BALL UNDER A COLONNADE. A large colon 
 nade with caryatides; under it a party of ladies and gentlemen assemble< 
 in two groups on each side; in the middle ground, to the right, th< 
 
IV A TTEA U WEE NIX 
 
 183 
 
 musicians near a buffet ; to the left, in the foreground, a dancing pair ; a 
 fountain and high trees in the background. 
 
 On Canvas. 1 ft. 7f in. high; 2 ft. 4 in. wide. 
 
 In every respect one of Watteau’s masterpieces. The picture con- 
 tains seventy-three figures. 
 
 Sale of the Duke of Morny’s Collection, 5,000 liv. 
 
 Sale of Montalle Collection, 1783 (No. 55). 
 
 Sale of Nov. 26, 1787 (No. 60), 4,000 liv. 
 
 Sale of the Cabinet Lebrun, 1791 (No. 197), 2,000 liv. 
 
 It is not known when and from whom Mr. Desenfans bought this 
 picture. A copy of it, painted by Pater, scholar of Watteau, has lately 
 been sold for 37,000 francs. Pater is said to have painted several 
 •’Copies of it; one of them is now at Hertford House. Peplicas of 
 the above- described picture, attributed to Watteau, are at Blenheim 
 Palace, at Wroxton Abbey, and in the Collection of Count Bostochin at 
 St. Petersburg. There exist several drawings of the master for this 
 picture. A study for the dancing gentleman is in the Louvre ; seven 
 others have been engraved in ‘ Figures, different® caracteres de paysages 
 ■et d’etudes par Antoine Watteau, tirees des plus beaux cabinets de 
 Paris.’ Nos. 355, 442, 446, 466, 475, 665. 
 
 The picture has been engraved by Scotin in the size of the original, 
 then in the Collection of M. Glucq, Councillor of the French Parliament. 1 
 
 Desenfans’ Catalogue, No. 68. 
 
 This picture, as well as No. 197, is exceedingly fine and rich in 
 tone, very animated in composition, and elaborately executed. 
 
 No. 197 . BEPAST IN THE WOOD. To the right, a lady on 
 horseback, attended by two men ; to the left, a group of two gentlemen 
 -and three ladies sitting on the ground; wine-bottles and bread before 
 them ; two girls and two youths standing behind. A man engaged with 
 dogs in the right corner; two horses behind him ; high trees on either 
 side ; to the left, a view on a river with a village ; blue sky. 
 
 On Canvas. 1 ft. 7§ in. high ; 2 ft. 1 in. wide. 
 
 J. WEENIX.— Dutch School. 
 
 Born 1640. Died 1719. 
 
 AN WEENIX was born at Amsterdam in 1640. He 
 was a scholar of his father, Jan Baptist Weenix, who 
 had married Justina d’Hondecoeter in 1638 ; al- 
 though he chiefly lived at Amsterdam, his name is 
 to be found in the registers of the Guild of Saint Luke at Utrecht 
 in the years 1664 and 1668. He was also for some time in the 
 
 1 Edm. de Goncourt, Catalogue raisonne de V CEuvre d' Antoine Watteau. Paris 
 1875. No. 155. 
 
184 
 
 WEE NIX— VAN DER WERFE. 
 
 service of the Elector Johann Wilhelm, of the Palatinate, in the 
 castle of Bendsberg, near the Rhine. He died at Amsterdam, 
 September 20, 1719. 
 
 Jan Weenix painted occasionally only views of Italian 
 harbours, like his father, who had visited Italy ; he was prin- 
 cipally an animal-painter, and became most celebrated by his 
 representations of dead hares ; he often painted groups of dead 
 poultry, now and then introducing a live dog with remarkable 
 truth to nature. 
 
 No. 147 . A SHEPHERD CLIPPING THE HAIR OF A DOG.. 
 To the left, in the foreground, a shepherd sitting on the ground, a young- 
 dog between his legs; an older one looking over the boy’s shoulder; behind 
 him, the ruins of a Roman temple ; to the right a group of four sheep ; 
 and in the middle ground, a river, with numerous figures scattered about ;. 
 high rocks in the distance ; cloudy sky. Signed and dated 
 
 On Canvas. 2 ft. GI in. high ; 3 ft. 2f in. wide. 
 
 Painted under the influence of his father, J. B. Weenix, and probably 
 after his studies in Italy; an early and very important work of the- 
 master. 
 
 VAN DER WERFF.— Dutch School. 
 
 Born 1659. Died 1722. 
 
 DRIAEN VAN DER WERFF was born in Kra- 
 linger-Ambacht, near Rotterdam, January 21, 1659. 
 His first master was Cornelis Picolett ; afterwards lie 
 entered the studio of Eglon van der Neer, and 
 settled at Rotterdam. In 1687 he married Margaretha Rees- 
 Johann Wilhelm, Elector of the Palatinate, gave him several 
 commissions, and knighted him in 1703. He died November \ 2 r 
 1722, at Rotterdam. 
 
VAN DER WERFF — W I JN A NT S. 
 
 185, 
 
 He is the only Dutch artist of the seventeenth century, whose 
 tendencies are purely academical ; his pictures are cold in colour- 
 ing, with an ivory-like smoothness of the flesh; they are affected in 
 their composition, the heads monotonous and wanting in expres- 
 sion. Nevertheless, they were formerly much appreciated on 
 account of the elegance of the figures and the great finish with 
 which they are executed. 
 
 No. 191. THE JUDGMENT OF PAHIS. To the left, Park 
 sitting, with the apple in his hand ; a red drapery in his lap ; opposite 
 him, Menus standing, with outstretched arms. Amor carries her blue 
 mantle ; two doves before her ; Minerva, with the helmet, and Juno, 
 with the tiara, behind her ; to the left, in the background, Mercury. A 
 high rock in the background ; dark blue sky. 
 
 On Panel. 2 ft. § in. high ; 1 ft. in. wide. 
 
 A picture of great finish, but the heads are wanting in expression 
 the flesh is bloodless and ivory-like ; the painting is, however, of exqui- 
 site finish. 
 
 According to Descamps, ‘ La vie des Peintres,’ it was painted in 1718 
 for the Regent Duke of Orleans ; it is a famous picture, and was also much 
 admired by Sir Joshua Reynolds. 
 
 Engraved by Blot in the ‘ Galerie du Palais Royal,’ with the follow- 
 ing note : 1 This agreeable composition, when examined in its minutest 
 details, shows everywhere the great finish and the delicate execution so 
 characteristic with this master’s works.’ 1 
 
 Desenfans’ Catalogue, No. 169. Smith’s Catalogue, No. 83. 
 
 WIJNANTS.— Dutch School. 
 
 Born about 1615. Died after 1679. 
 
 AN WIJNANTS lived at Harlem in the later part of 
 the seventeenth century. Neither the year of his birth 
 nor that of his death is known with certainty. He 
 was probably born about the year 1615, as his earliest 
 pictures bear the dates 1641 and 1642, and he was still living in 
 .1679, as one of his paintings in the Hermitage of St. Petersburg 
 bears that date. 2 
 
 1 ‘ 1 pied 5 pouces sur 1 pied de large. Cette agreable composition, examinee 
 dans ses plus petits details, offre partout le fini precieux et la touche delicate qui 
 caracterisent les ouvrages de cet artiste.’ 
 
 2 In October 1642, the registers of St. Luke’s Guild at Harlem mention a 
 Jan Wijnants as dealer in works of art ; this probably refers to the painter. 
 
1 86 
 
 WIJNA NTS— WILSON, R.A. 
 
 Wijnants only painted landscapes. He looked on Nature, so 
 to speak, through a diminishing glass. In his earliest works, where 
 the figures are painted by Ph. Wouwerman and by B. Gael, the 
 foliage is dark-green, the treatment of a good impasto, the light 
 bright and forcible, and the details of careful execution. 
 
 Adr. van dc Velde and Lingelbach of Amsterdam painted 
 the figures in his later works, which are the more important and 
 the most numerous. A sandy bank is introduced in the fore- 
 ground of most of his pictures. 
 
 No. 11 . LANDSCAPE. To the right, a sand-hank ; on it two 
 figures passing on a road ; a group of trees beyond ; in the centre of 
 the middle ground, to the left, a large tree ; blue sky, with dark 
 clouds. 
 
 On Panel. 6 in. high ; 7 in. wide. 
 
 Smith’s Catalogue, No. 165. Engraved by B. Cockburn. 
 
 No. 12 . LANDSCAPE. A sandy hill to the right, and a road 
 over it ; to the left, near a pool, a cow, two sheep, and a shepherd ; trees 
 in the centre of the middle ground ; to the left, an extensive landscape ; 
 in the background, blue sky ; heavy clouds to the right. Signed 
 
 On Panel. G in. high ; 7^- in. wide. 
 
 Two companion pictures, fairly representing the characteristic style of 
 the master. 
 
 Smith’s Catalogue, No. 166, where it is valued 60 guineas. Engraved 
 by B. Cockburn. 
 
 WILSON, R.A. 
 
 Born 1713. Died 1782. 
 
 ICHARD WILSON was born at Penegoes, Mont- 
 gomery, in 1713. His father was a clergyman 
 and his mother was a relative of Lord Chancellor 
 Camden. Richard was the third son. His early love 
 for drawing attracting the notice of Sir George Wynne, he was 
 placed under the tuition of Thomas Wright, the well-known 
 portrait-painter in London. In this branch of art Wilson dis- 
 tinguished himself sufficiently to be patronised by Royalty ; but. 
 
WILSON, R.A. 
 
 187 
 
 visiting Italy in 1749, in Venice he became acquainted with 
 Zuccarelli, a landscape-painter of immense popularity, who 
 persuaded him to abandon portraiture for the more interesting 
 study of natural scenery, for which he possessed decided talent. 
 In Rome he was greatly encouraged by the approbation of 
 Vernet and Mengs, who exchanged pictures with him ; and after 
 six years’ absence he returned to London, a ‘ finished landscape- 
 painter.’ Wilson took up his abode in the Piazzas of Covent 
 Garden, then a favourite locality for artists, where he painted 
 several large pictures, and enjoyed a fair portion of patronage : 
 but the caprice of public taste, his own rough manner and 
 irritable temper, caused him to be soon neglected : and although 
 he far surpassed Zuccarelli, and, with the exception of Gains- 
 borough, all his contemporaries in landscape, yet he attained no 
 popularity, and his pictures remained on his hands to be sold as 
 •necessity urged, for a few pounds each to the dealers. As his 
 fortunes declined, Wilson had to decrease his expenses, and 
 change his abode to suit his circumstances ; in his distress, Paul 
 Sandby frequently assisted him, but the unfortunate painter 
 grew reckless and dissipated, and his disposition so morose that 
 many friends held aloof for fear of giving offence. In 1776, 
 when Wilson’s boon companion, Frank Hayman, died, the 
 Academy, recognising Wilson’s abilities and destitute condition, 
 gave him, on application, the post of librarian, which brought 
 him a small annuity. But, in spite of all, his means were 
 insufficient, and he became more and more dreary. His last 
 abode in London was a poor, barely-furnished chamber near 
 Tottennam-court Road, and here would in alPprobability have 
 -ended his days but that the death of his brother put him in 
 possession of a small estate in Wales. With broken spirits and 
 declining health, this timely aid procured for Wilson ease and 
 comfort for his last days. He left London in 1780; and after two 
 years of quietude, spent amidst the lovely scenery of his native 
 soil, he died suddenly, May 11, 1782, and was buried in the 
 churchyard of Mold, in which church his father had for so many 
 years officiated. A great many of this master’s pictures have 
 been engraved, and there are several fine examples in the 
 National Gallery and other Collections. He is deservedly 
 regarded as one of the greatest masters in landscape of the 
 English School ; and on the occasion of an exhibition of about 
 
1 88 
 
 WIL SON , A.H IF< 9 U WERMAN. 
 
 seventy of his works in the British Gallery, Pall Mall, 1813, a 
 contemporary paper, recording his merits, added the following 
 remark:— ‘To the emotions engendered by the magic touch of 
 Richard Wilson, we can apply no other epithet than that of 
 Sacred.’ 
 
 No. 215. THE CASCATELLA AND VILLA OF MAECENAS, 
 NEAR TIVOLI. The foreground of this fine picture is formed of 
 a plane of rock, covered in the immediate foreground with brambles. 
 An artist, said to be Wilson himself, has pitched his easel on this place, 
 and a woman, with a child in her arms, looks on at his work. The 
 plateau is walled in by rocks and trees on the left edge. Beyond him is 
 a chasm, with the river rushing down in cascade into it. The right of 
 the foreground is formed of dark trees ; and beyond it a swelling green 
 hill, with a pathway and two figures on it. Two others are seen on the 
 edge near the cleft. On the other side of the chasm two promontories 
 are seen ; on the nearer one are modern buildings ; on the farther one 
 the Roman ruins ; beyond both is the flat sunlit Campagna. A yellow, 
 warm sunny sky, tinting away to clear blue-grey, rather greenish, to 
 the left top corner of the canvas. 
 
 On Canvas. 2 ft. 4|'in. high; 3 ft. 2 in. wide. 
 
 Wilson has repeated this picture more than once. 
 
 Engraved by R. Cockburn and C. Turner. 
 
 PHILIPS WOUWERMAN.— Dutch School. 
 
 Born 1619. Died 1668. 
 
 HILIPS WOUWERMAN was baptized at Harlem on 
 May 24, 1619. His father, Paulus Joosten Wou- 
 werman, a painter from Alkmaar, gave him his first 
 instruction. He afterwards visited the studio of 
 Jan Wijnants. When nineteen years of age, he ran away to 
 Hamburg with a Catholic young lady of Harlem, to marry her 
 there against the wish of his parents ; he worked in that town 
 for a short time in the studio of Evert Decker, but soon returned 
 to Harlem, where he was admitted into the Guild of St. Luke 
 in 1640. Two years later he received pupils into his studio, 
 and became commissary of the Guild in 1645. He lived in easy 
 circumstances, and died at Harlem in 1668. 
 
 Wouwerman, in painting landscapes with figures and animals,. 
 
IVOUWERMAN. 
 
 189 
 
 succeeded well in bringing all into close connection with each 
 other, and this forms the peculiar and distinctive character of 
 his art. He especially liked to paint horses, and chose subjects 
 where these noble animals had a prominent place. In fact, 
 there are very few pictures of his where only one horse is intro- 
 duced, and still fewer where there are none. His early works 
 are variegated, glowing, and often of a dazzling effect, with a 
 broad, even, mild treatment. In some of them he comes very 
 near to Isack van Ostade. About 1650 his colours become more 
 delicate and harmonious in tone and chiaroscuro, and his execu- 
 tion reaches the highest perfection. His latest works, however, 
 are somewhat heavy in tone, crowded in composition, and flat 
 in execution. 
 
 The following pictures are enumerated in chronological order : — 
 
 No. 65. A HALT OF SPORTSMEN. Five men on a road, near 
 a brook : one on horseback ; another loading his gun • two occupied with 
 hounds ; to the right, a boat on a river, some houses beyond ; grey sky. 
 Signed 
 
 On Panel. 11^ in. high ; 1 ft. 2 in. wide. 
 
 An early work of the master. 
 
 No. 93. SELLING FISH ON THE COAST OF SCHEYE- 
 NINGEN. In the foreground, to the right, a road; fishermen loading 
 baskets with fish ; beyond, a hut, a tower in ruins, and the church tower 
 of Scheveningen. To the left, below, horsemen near the sea-shore, with 
 two ships ; blue sky with a few dark clouds. Signed 
 
 On Canvas. 1 ft. 7 in. high; 2i-ft. 6 in. wide. 
 
 An early work, of a very picturesque conception. 
 Smith’s Catalogue, No. 310. 
 
 Mentioned by J. A. Crowe 1 and by Waagen. 2 
 
 1 J. A. Crowe, Handbook of Tainting, German , Flemish , and Butch School , 
 part ii. chap. vi. p. 432 : ‘ England, too, possesses a considerable number, and 
 among these many of his best. I only know, however, in public galleries, the six 
 at Dulwich, which show the master fully and greatly to his advantage as a land- 
 scape painter. The sale of fish on the coast of Scheveningen is a singularly warm 
 and clear picture in his first manner.’ 
 
 s Treasures of AH, vol. ii. p. 343: ‘No. 3. An excellent picture of the first 
 period, which in impasto and warmth approaches Isack van Ostade.’ 
 
WOUWERMAN. 
 
 190 : 
 
 No. 144. A HALT OF TRAVELLERS. To the right, a brook ; 
 beneath a group of dead trees, two men resting ; a white horse standing 
 near them ; a third is on horseback ; behind, some trees and a hut ; in the 
 background, to the left, a barren, hilly landscape, under a stormy cloud.. 
 Signed 
 
 On Panel. 1 ft. 5f in. high ; 1 ft. 4 in. wide. 
 
 Also an early work, of great fulness and depth of colour, painted 
 under the influence of Isack van Ostade. 
 
 Smith’s Catalogue, No. 232. N. Desenfans paid 200 guineas for it 
 in 1802. 
 
 No. 125. A HALT OF THREE CAVALIERS AT A WAY- 
 SIDE INN. To the left, in the foreground, a hut near a road; a cava- 
 lier sitting on the ground in conversation with another, standing 
 opposite ; a third on horseback, drinking from a pitcher ; two horses 
 behind. The inn-keeper and his wife baiting the horses near the inn 
 a white dog in the immediate foreground ; travelling people to the right, 
 in the distance. Blue sky with clouds. Signed 
 
 Pf 
 
 On Panel. 1 ft. 4| in. high ; 1 ft. 11| in. wide. 
 
 This picture is rendered very attractive by the simplicity and 
 naturalness of the composition. 
 
 No. 126. TWO RIDERS NEAR A FOUNTAIN. To the left, 
 a servant-maid standing near a fountain, in conversation with a trum- 
 peter on horseback, who has his back towards the spectator ; near him, a 
 cavalier holding his horse’s bridle, and looking at a white dog ; a peasant 
 sitting on the road behind ; to the right, an extensive view ; blue sky 
 with a few clouds. 
 
 On Panel. 1 ft. 4f in. high; 1 ft. 11^ in. wide. 
 
 Painted in the master’s best period. 
 
 No. 228. PEASANTS IN THE FIELDS. A white horse and 
 waggon in the foreground ; a peasant, leaning on the horse, is in conver- 
 sation with a woman, sitting on the ground with a child. In the 
 centre of the middle ground, two peasants loading another waggon on a 
 small hill ; two boys fishing on the right ; blue sky with grey clouds. 
 Signed 
 
 \X/ 
 
 On Panel. 1 ft. 4 in. high ; 1 ft. 2 in. width. 
 
 Bright in colouring ; of great finish. 
 
 Smith’s Catalogue, No. 310, where it is valued at 250 guineas. 
 
WOUWERMAN. 
 
 191 
 
 Mentioned by Waagen. 
 
 Engraved by R. Cockburn. 
 
 No. 137 . A COURTYARD WITH A FARRIER. To the left,, 
 a cavalier on horseback speaking to a woman ; another, dismounted, 
 looks on at two countrymen shoeing his white horse ; to the right, a 
 herdsman leading his flock through a gateway ; beyond, a boy riding on 
 a donkey, and shouting ; a high wall and a tower form the background ; 
 a composition of fourteen figures. Signed 
 
 On Canvas. 1 ft. 9^ in high ; 1 ft. 5f in. wide. 
 
 Smith’s Catalogue, No. 69. 
 
 An excellent work of the master’s best time. 
 
 Engraved by Moreau and R. Cockburn. 
 
 No. 173 . THE HALT OF A HUNTING PARTY. To the left, 
 a river, near which cavaliers and a lady reposing; a blackamoor 
 selling oranges ; on the right, a road, a lady and gentleman on horse- 
 back, and an old man, cap in hand ; extensive landscape to the left. 
 Signed 
 
 On Canvas. 1 ft. 9 in. high ; 2 ft. 7-f in. wide. 
 
 Clear and silvery in tone ; in every respect an excellent work of the 
 master. 
 
 Smith’s Catalogue, No. 215 ; where it is described under the title of' 
 ‘ Petite Chasse a l’Oiseau.’ 
 
 Collections. — Chevalier d’Orleans, 1779. Mr. Hogenburgh, Am- 
 sterdam, 1743 ; 555 florins (507). Danser Wyman, 1797 ; 1,800 
 florins (1627). N. Desenfans, valued 600 guineas by Smith in 1829. 
 
 Engraved by T. Moreau and by R. Cockburn. 
 
 No. 136 . THE RETURN FROM HAWKING. In the centre, 
 a group of horses, whose riders have dismounted ; between them a lady 
 on horseback, and a blackamoor holding an umbrella over her. To the 
 left, preparations are being made for a repast under an arbour, near a 
 castle. Game in the foreground ; numerous figures ; a distant landscape 
 to the right. Signed 
 
 On Panel. 1 ft. 7|- in. high ; 2 ft. 1 in. wide. 
 
 A later work ; almost too crowded a composition. Formerly in the 
 Orleans Gallery (No. 30). 
 
 Engraved by Dequevauviller and Moreau. 
 
 % W 
 
WOUWERMAN, 
 
 1 92 
 
 No. 53. (After Wouwerman.) HAYMAKING. In the fore- 
 centre, two waggons loaded with hay, each drawn by four horses ; in 
 the foreground, a rider and various figures ; to the left, a boat with hay. 
 In the background, to the right, a cottage ; blue sky with dark clouds. 
 
 On Canvas. 1 ft. 51 in high ; 1 ft. 10^ in. wide. 
 
 An old copy. A very similar picture by Ph. Wouwerman is No. 57 
 in the Picture Gallery of Buckingham Palace. 
 
 PIETER WOUWERMAN.— Dutch School. 
 
 Born 1623. Died 1683 (?). 
 
 IETER WOUWERMAN, brother of Philips Wou- 
 werman, was born at Harlem in September 1623. 
 In August 1654 he married Hendrikje Havemans. 
 He was admitted into the Painters’ Guild in 1646. 
 He probably visited Paris, as he painted several views of the 
 Pont-Neuf. 1 He died at Harlem probably in 1683. 
 
 Pieter Wouwerman imitated the manner of his brother 
 Philips, without, however, attaining his excellence. His pictures 
 are generally heavier in tone and executed with less freedom. 
 
 No. 63. A SANDBANK, WITH TRAVELLERS. To the 
 right, a sandbank and a cottage ; beyond, a man at rest on the ground ; 
 before him, a dog ; to the left, two other travellers going towards a lake ; 
 blue sky with clouds. Signed 
 
 ^ 11 /, 
 
 AV 
 
 On Canvas. 9^ in. high ; 1 ft. in. wide. 
 
 No. 64. A SEA-SHORE, WITH FIGURES. A sandy bank to 
 the left, with a few trees ; to the right, a rider close to the sea ; a beggar 
 advances towards him coming from the side of a woman sitting on the 
 ground ; another man opposite the rider ; blue sky with grey clouds. 
 
 On Canvas. in. high ; 1 ft. II in. wide. 
 
 Apparently two companion pictures. 
 
 Formerly ascribed to Philips Wouwerman, but they are not in the 
 style of that master, nor is the signature they bear his, but Pieter’s ; 
 they are harmonious in colour and broad in execution. 
 
 1 In the Gallery of the Louvre, in the Museums of Brunswick and Copen- 
 hagen. 
 
RANCESCO ZUCCARELLI, or ZUCCHERELLI, 
 was born at Pitigliano, near Florence, in 1702. He 
 was at first a scholar of Paolo Anese, and after- 
 wards of G. M. Morandi, in Rome. He settled at 
 Venice, 1 where for some time he worked in conjunction with 
 Antonio Visentini, a painter of architectural view's. 2 He also 
 travelled in Germany, Holland, and France, and came to Lon- 
 don, where he remained five years, and then returned again to 
 Venice, but visited England for a second time in 1752, and 
 was then patronised by George III. and the nobility. He was 
 a member of the Incorporated Society of Artists, and one of 
 the foundation members of the Royal Academy (1768). 3 After 
 gaining much reputation and money, he returned to Italy, first 
 to Rome, and then for retirement to Florence, where he died 
 in 1788. 
 
 In his pictures the landscape and the figures are of an equal 
 importance. They are lively and elegantly conceived, and 
 clever in execution ; a delicate pink tone generally prevails in 
 them. 
 
 No. 231. CATTLE AND FIGURES NEAR A FOUNTAIN. 
 The fountain to the right ; a man fishing, seated in front of it ; 
 
 1 < When Sir Joshua Reynolds visited the north of Italy (1749-1752), he became 
 
 acquainted with Zuccherelli, the celebrated landscape-painter ; and at his house he 
 oainted the portrait of a gentleman in a style which appeared to be new to his 
 iiost. Zuccherelli was struck with the boldness and decision of his execution ; and 
 me day, while overlooking the work, he turned to Marchi, and exclaimed : Clie 
 
 <pirito ha quest’ uomo ! ” (“ What spirit this man displays ! ”) ’—Henry William 
 
 Beechey, ‘ Memoir of Sir Joshua Reynolds,’ in The Literary Works of Sir Joshua 
 Reynolds. London, 1852, vol. i. p. 111. 
 
 2 Pictures of that kind, and signed by both artists, are in the Royal Collection 
 it Windsor Castle. They are mostly dated 1746. Some of them represent views 
 >f London and of English country seats, probably after drawings sent to the 
 atists. 
 
 3 William Sandby, The History of the Loyal Academy. London, 1862, vol i 
 >p. 50, 56, 112, 113. 
 
 O 
 
194 
 
 ZUCCARELLI. 
 
 in the centre, a dairymaid with a jug, and a shepherd driving goats, 
 sheep, and a cow. Behind, a woman on horseback, with a child on her 
 lap. A village to the left, in the background. 
 
 On Canvas. 3 ft. 2^ in. high ; 4 ft. \ in. wide. 
 
 Bright in colour, and very spirited in conception ; the woman with 
 the child on horseback recalls the Madonna of the Pesaro family by 
 Titian. 
 
 No. 251. BACCHANALS. To the left, Bacchus, seated on the 
 ground ; a female satyr pours out wine for him ; a satyr girl on the left 
 side of Bacchus ; near him a boy occupied with a goat ; two other boys on 
 trees ; to the right, two Bacchantes and satyrs dancing on a meadow ; a 
 satyr boy playing the flute ; trees in the background ; blue sky with 
 light clouds. 
 
 On Canvas. 1 ft. 1|- in. high ; 1 ft. in. wide. 
 
 A sketch. 
 
 
 
UNKNOWN — English School. 
 
 HE following pictures may be considered as the pro- 
 duchons °f artists whose names have not survived 
 with their works, and until more evidence of author- 
 ship and authenticity is brought to bear on them, 
 
 must be described under the heading above. 
 
 driv^hdfLtk Wafdst M hi'™ \ man and a woman > 
 
 side of which a woman k cop-n + r ountam " stream ? on the distant 
 
 coloured summer sky. ™ P ®’ a “ d a lar§e bare tree - Warm- 
 
 On Canvas. 2 ft. tor in. high ; 2 ft. J in. wide. 
 
 fill into a^ittle lak<Tnear^h<f'forf^ WeII , wat ^ ed country discharges a 
 tance. A bankofmugh SoundCle fTST W “ the dis ’ 
 
 d“i a trsr 4 
 
 ou^hea, A man rect^^^ 
 
 On Canvas. 1 ft. 2 in. high ; 1 ft. 6 in. wide. 
 
 Keeper of the King’s p4“ } ^ pamted for Mr ' Dalto “> 
 
 No. 321. LANDSCAPE WITH HORSES t„„ 1 
 and a grey, stand with thei.. »,„,,] '-'KoES. , aw0 horses, a brown 
 
 hind. A town in the distance ^ ba ” k ° f dark trees is he- 
 The sky is blue. msifemce, and a mountain. All rather dark. 
 
 On Canvas. 1 ft. 1| in. high ; 1 ft. 6 | in. wide. 
 
 « £ “ fc “* ■“ - *— * 
 
 4 O 2 
 
196 
 
 UN K NO WN. 
 
 No. 367. SIR FRANCIS BACON, VISCOUNT ST. ALBANS. 
 The head is turned three-quarters to the right, and has on a hat, a lace 
 ruff, dark coat with gold embroidery. The face is shaven, with the ex- 
 ception of a moustache and pointed beard. 
 
 On Canvas. 1 ft. 11|- in. high ; 1 ft. 5-| in. wide. 
 
 Formerly ascribed to van Somer. 
 
 Sir Francis Bacon, Baron of Verulam, Viscount of St. Albans, was 
 born on January 23, 1561, and died April 9, 1626. He is buried at 
 St. Albans, in St. Michael’s Church there, where there is a monument 
 to his memory. 
 
 He was present at the solemn founding of Dulwich College on 
 September 13, 1619. 
 
 In 1618 he was made Lord Chancellor of England by James I., 
 and about the year 1621 he fell into disgrace, and was banished the 
 Court. He was concealed at the house of a family named Andrew 
 (with whom there had been an intermarriage, as appears by his pedi- 
 gree), in Garret Lane, Wandsworth. After he regained his full liberty 
 he presented them with this portrait of himself, as a recognition of their 
 kindness. 
 
 The last of the ^Andrew family was a daughter, and married Mr. 
 John Acworth ; their grandchild was the late Mrs. Sedgwick, who, 
 being the eldest descendant, became possessed of both portrait and 
 pedigree. 
 
 By the will of Marian Sedgwick, eldest daughter of the above- 
 named Ann Blagrave Sedgwick (who died on January 16, 1860, aged 
 eighty years), the portrait and pedigree came into the possession of her 
 first-cousin, Admiral Love of Yarmouth, Isle of Wight. 
 
 The inscription on the frame of the portrait is, ‘ The gift of Miss 
 Love of Yarmouth, Isle of Wight, in fulfilment of the wishes of her 
 late brother, Admiral Henry Omanney Love, 1873.’ 
 
 No. 376. MASSACRE OF THE INNOCENTS (?). A fragment 
 of a large composition, showing only the shoulder, arms, and head of . 
 a woman, all thrown over away from the spectator, and the head of a 
 child, looking up to the woman, and apparently running towards her 
 for shelter. A drapery is around the woman’s waist ; otherwise she is 
 uncovered. 
 
 On Canvas, on Panel. 2 ft. f in. square. 
 
 No. 377. AN EQUESTRIAN PORTRAIT. A general officer 
 with gold-embroidered cocked hat and red coat, leather breeches and j 
 trooper’s boots, sits a brown horse, and prances from right to left. A 
 whitish dog in the foreground. A lake and bank of trees form a low 
 horizon for the figure. Stormy and cloudy sky, blue to the right. For- 
 merly wrongly ascribed to Sir Joshua Reynolds. 
 
 On Canvas. 4 ft. 2 \ in. high ; 3 ft. 4 in. wide. 
 
 No. 379. PORTRAIT OF THE PRINCE PRIMATE OF PO- 
 LAND. The same character of face with that of the King his brother. I 
 The hair is powdered. Is dressed in a crimson-red cape, with bands ‘ 
 
UNKNO WN. 
 
 197 
 
 round his throat. An order is carried by a broad blue ribbon, above 
 which a red cross is sustained by a golden cord. As in his brother’s 
 portrait, the face is three-quarters towards the left. 
 
 In Pastel, on Paper. ' 1 ft. 11-| in. high ; 1 ft. 7\ in, wide. 
 
 No. 380 . PORTRAIT OF STANISLAUS, KING OF POLAND. 
 A fine, handsome, shaven face of this King ; his dark eyes and eye- 
 brows contrast with his powdered hair. He wears a dull red coat and 
 ruffled shirt; a broad blue ribbon passes over his left shoulder; on his 
 left breast a blue order of a double cross, with silver rays. The head is 
 seen in three-quarter view, looking towards the left. 
 
 In Pastel, on Paper (?). 1 ft. 11^ in. high; 1 ft. 1\ in. wide. 
 
 ‘Warsaw, September 7, 1764 — Stanislaus Poniatowski, by what 
 management of an Imperial Catherine upon an anarchic nation readers 
 shall imagine, ad libitum , was elected, what they call Elected King of 
 Poland. ... A question rises here : “ At or about what date did this 
 glorious Poniatowski become lover of the Grand Duchess, and then 
 become ex-lover 1 ?” Nobody will say, or perhaps can ? .... Ritter 
 Williams (that is, Hanbury) must have produced him at Petersburg 
 sometime in 1756. January 11, 1757 — finding it would suit, Ponia- 
 towski appeared there, on his own footing, as “ Ambassador from 
 Warsaw.” . . . Ponia.towski’s age is thirty-two gone. . . . Made his 
 first appearance in the streets of Warsaw in the late election time as 
 a Captain of Patriot Volunteers. . . . His uncles, Czartoryski, were 
 piloting him in ; and in that mad element, the cries, and shifting of 
 talk, had to be many. He is nephew, by his mother, of these Czar- 
 toryskis, but is not, by the father, of very high family. “ Ought he to 
 be King of Poland?” argued some Polish emissary at Petersburg; “his 
 grandfather was land-steward to the Sapiehas.” . . . It seems the family 
 was really good, though fallen poor, and, since that land-steward phasis, 
 had bloomed out well again. His father was conspicuous as a busy, 
 shifting kind of man, in the Charles-Twelfth and other troubles 
 had died two years ago as Castellan of Cracow, always a dear friend of 
 Stanislaus Lesczinski, who gets his death two years hence (in 1766). . . . 
 King Stanislaus had five brothers : two of them dead long before this 
 time ; a third, still alive, was Bishop of something, Abbot of some- 
 thing, ate his revenues in peace, and demands silence from us. . . . 
 Besides these three brothers, King Stanislaus had two sisters still 
 living : one of them wife of a very high Lamaiski, the other of a ditto 
 Bramcki. 
 
 ‘King Stanislaus himself was born, January 17, 1732; played King 
 of shreds and patches till 1790, or even farther (not till 1795 did Cathe- 
 rine pluck the paper tabard quite off him) ; lie died in Petersburg, 
 February 11 or 12, 1798. After such a life ! 
 
 ‘ Stanislaus was crowned, November 25, 1764. He needs, as prelimi- 
 nary, to be anointed, on the bare scalp of him, with holy oil before 
 crowning ; ought to have his head close-shaved with that view. Stanis- 
 laus, having an uncommonly fine head of hair, shuddered at the barba- 
 rous idea, absolutely would not, whereupon delay, consultation ; and at 
 length some artificial scalp, or second skull, of pasteboard or dyed leather, 
 was contrived for the poor man, which comfortably took the oiling in a 
 
198 
 
 UNKNO WN. 
 
 vicarious way, with the ambrosial locks well packed out of sight under it, 
 and capable of flowing out again next day as if nothing had happened. Not 
 a sublime specimen of ornamental human nature, this poor Stanislaus ! 
 Ornamental wholly, the body of him, and the mind of him, got up for 
 representation; and terribly plucked to pieces on the stage of the 
 world. You may try to drop a tear over him, but will find mostly that 
 you cannot. ’ 1 
 
 History of Friedrich II. of Prussia , by Thomas Carlyle. 
 
 
APPENDIX A. 
 
 4 A Descriptive Catalogue (with remarks and anecdotes never before 
 published in English) of some Pictures, of the different Schools, 
 purchased for his Majesty the late King of Poland, which will be 
 exhibited early in 1802, at the great room, No. 3 in Berners Street, 
 the third door on the right from Oxford Street. By Noel Desenfans, 
 Esqre., late Consul-General of Poland in Great Britain.’ Two vols., 
 1802. 
 
 Vol. I. contains the Italian, Venetian, Spanish, and French Schools; 
 Vol. II. contains the German, Flemish, Dutch, and English Schools. 
 
 Then follow the conditions of sale, and an index to the Catalogue of 
 188 pictures. 
 
 The introduction commences thus : — 
 
 4 It was in 1790, immediately after the French Devolution at that 
 epoch, when the emigrant nobility brought into England their most 
 precious effects to be disposed of, that Stanislaus Augustus sent here a 
 Commission for purchasing a collection of pictures, in order to add some 
 to those his Majesty was already possessed of, and to present the diffe- 
 rent artists in Poland with the other part, as models and specimens of 
 painting ; for his Majesty having a most refined taste of the fine arts, 
 was fond of them, and had at heart their rise and progress in his coun- 
 try. In consequence, it was recommended to us to act with such 
 caution as to purchase none but originals, and the fine pictures of the 
 different Schools, when we should meet with them, at a liberal but not 
 extravagant price, and it is on that principle that they have all been 
 gradually purchased, both at public sales and by private contract. 
 . . . As his Polish Majesty was particularly desirous of possessing 
 none but pure pictures, we were also instructed, to prevent any damage, 
 not to have them cleaned, which, as the visitors of the Exhibition will 
 see, has been punctually observed, with the exception of a few which, 
 after they were bought, were found to have been painted upon, although 
 we had used the best of our knowledge against purchasing jsuch. Fortu- 
 
200 
 
 APPENDIX A. 
 
 nately, they had been so without necessity, and are now an ornament to 
 the Collection. 
 
 1 The public affairs of Poland were much deranged, and the Empress 
 of Russia, as well as the King of Prussia, had already invaded the 
 Polish territories, when this Collection, tho’ far advanced, was yet far 
 from being compleated. However, we went on in our pursuit, to render 
 it worthy of a Sovereign, or, at all chance, of an Exhibition, and it was 
 with that view that we continued to make our purchases to the very last 
 spring, when it was expected that the late King of Poland’s family 
 would send for the Cabinet, at which time some of our friends, being de- 
 sirous to see it before the exportation, saw about half of the pictures, as 
 they could not be all shown for want of room, &c. &c. 
 
 ‘ But previous to that epoch, and sooii after his Majesty’s demise,, 
 we applied to the British Government for their protection, and inter- 
 ference on our behalf with Paul, the Emperor of Russia, that as princi- 
 pal possessor of the Polish estates, and bound, of course, to discharge 
 their and the late King’s debts, his Imperial Majesty would be pleased 
 to take the Collection, and reimburse what it had cost, or to defray the 
 expenses of a public sale by auction, and us of our losses, if any were 
 sustained. As soon as Lord Grenville, then Secretary of State for 
 Foreign Affairs, had perused our memorial and the different letters of his 
 Polish Majesty’s Prime Minister on the subject of this Collection, his 
 Lordship sent them to Lord Whitworth, at St. Petersburg, but, unfortu- 
 nately, the harmony which till then had subsisted between that Court 
 and the Court of London was on its decline, and soon after his Excel- 
 lency returned home. 
 
 4 However, on the accession of Alexander to the Imperial throne, 
 we renewed our application, and requested Lord Whitworth to remit to 
 us our papers, in order to lay before his Imperial Majesty the proofs of 
 our just claim ; but his Lordship answered, that after his departure 
 from St. Petersburg the archive had been destroyed, to prevent its 
 falling into the hands of the Russian Government, at : that time inimical 
 to this country, and he was afraid all our papers had shared the same 
 fate. 
 
 ‘ However, his Lordship was so kind as to write to Russia for further 
 enquiries, but last September we received the following letter, which put 
 an end to our expectations, and made us then determine to submit the 
 pictures to the public : — 
 
 ‘ “ The enclosed will confirm to you what I had apprehended con- 
 cerning the fate of your papers. I hope the documents with which I 
 furnished you will in some degree compensate their loss. 
 
 * “ Your most obedient humble servant, 
 
 4 “ Whitworth. 
 
 
 
 i(c Stoneland, Sept. 4, 1801.” 5 
 
( 201 ) 
 
 APPENDIX B. 
 
 WILL OF NOEL JOSEPH DESENFANS. 
 
 Dated October 8th, 1803. 
 
 ‘ This is the last will and testament of me Noel Joseph Desenfans of 
 Charlotte Street Portland Place London. I recommend my Soul to God 
 whom I beseech to give me a true repentance of my sins, and that He 
 will be pleased to forgive them, I also ask pardon of those I may have 
 offended and freely forgive those who may have offended me. I desire 
 to be laid in a leaden coffin and kept in my own house till the Executor 
 of this my last Will shall have prepared a vault where I may be re- 
 moved. I give John Kemble Esqre. of Co vent Garden Theatre the sum 
 of One hundred pounds and I desire he will continue his friendship to 
 the Executor of this my Will and that he may be so good as to assist 
 him in the recovery of my property. I desire that my debts, if I leave 
 any, shall be paid as soon as possible after my decease and I give to my 
 dear Wife Margaret Desenfans the sum of Five hundred pounds to be 
 paid to her six weeks after my decease. I give and bequeath unto the 
 said Margaret Desenfans and unto my friend Sir Peter Francis Bourgeois 
 my dwelling house in Charlotte Street Portland Place London, together 
 with all its furniture, plate, books and linen, and as it is my wish that 
 my wife and Sir Francis should continue to live in it together : I give 
 the said house with the furniture, plate, books and linen, to the sur- 
 vivor of them. I give and bequeath unto my friend Sir Francis 
 Bourgeois all the pictures, frames, and prints which are in my dwell- 
 ing house in Charlotte Street. I give unto Sir Francis Bourgeois all 
 the money I may have at home and at my bankers at the time of my 
 decease. I also give the remainder of my property both real and 
 personal unto my friend Sir Francis Bourgeois on condition that my 
 dear wife Margaret Desenfans shall receive during the natural course of 
 her life, in two half-yearly payments, from the day of my decease, the 
 lawful interest on half of the said remaining property, and in case 
 she should not like to continue in my house with Sir Francis Bour- 
 geois it will become from that moment the sole and entire property 
 of the said Sir Francis Bourgeois. I appoint Sir Francis Bourgeois 
 my residuary legatee and sole Executor of this my last Will and Testa- 
 ment.’ 
 
202 
 
 APPENDIX B. 
 
 EXTRACT FROM SIR P. F. BOURGEOIS’ WILL. 
 
 Dated December 20, 1810. 
 
 4 And as to my collection of pictures it is my desire that in case my 
 Friend and Executrix Margaret Desenfans should survive me, my col- 
 lection, of pictures shall remain in the same situation in which they shall 
 be found at the time of my decease. And after the decease of the said 
 Margaret Desenfans, I give and bequeath all my collection of pictures, 
 frames, and prints, now in my dwelling house in Charlotte Street, 
 together with the furniture, ornaments, plate, china, clocks, and other 
 effects now being in my three leasehold houses in Charlotte Street and 
 Portland Road, unto the Master, Warden, and Fellows, of Dulwich 
 College, and their successors for ever. And it is my desire that the 
 same may be there kept and preserved for the inspection of the public 
 upon such terms pecuniary or otherwise at such times in the year, or 
 days in the week as the said Master, Warden, and Fellows of the College 
 for the time being, may think proper. And the better to enable the 
 said Master, Warden, and Fellows, and their successors to keep, preserve, 
 and maintain such collection of pictures, furniture, and other Ornaments 
 for such public inspection, I hereby direct my then remaining Executors 
 and Trustees to invest the sum of Ten thousand pounds sterling in such 
 separate Fund or Funds as they shall consider most productive, in the 
 name of the Master, Warden, and Fellows of Dulwich College in trust, 
 who shall have power out of the interest, dividends, and profits accruing 
 from such trust fund to pay the salaries and wages of all such officers 
 and servants as the said Master, &c., may think expedient for the pro- 
 per maintenance and preservation of my collection of pictures, &c., it 
 being my express will and desire that the sum of Ten thousand pounds 
 last bequeathed, and the interest therefrom accruing shall be a perpetual 
 fund for the purposes aforesaid, and for no other. And I also give and 
 bequeath to the Master, Warden, and Fellows of Dulwich College, or 
 their successors, the further sum of Two thousand pounds sterling for 
 the repairing, improving, and beautifying the west wing and gallery of 
 the College, for the reception of the pictures, furniture, and other 
 effects hereinbefore mentioned, and as to all the residue of my per- 
 sonal estate, I hereby give and bequeath the same after the decease 
 of the said Margaret Desenfans unto the Master, Wardens, and Fel- 
 lows of Dulwich College, for the repairing, rebuilding, adding to, and 
 beautifying their present chapel, and other parts of the said College.’ 
 
 EXTRACT FROM MRS. DESENFANS’ WILL. 
 
 ‘ First I desire that my remains be deposited together with those of 
 my late dear husband Noel Joseph Desenfans, Esquire, and of my late dear 
 
APPENDIX B. 
 
 203 
 
 friend Sir Peter Francis Bourgeois in the mausoleum attached to the 
 Gallery of Dulwich College in the county of Surrey in the manner and 
 according to the directions expressed in the last Will of my said dear 
 friend Sir Peter Francis Bourgeois. And whereas it was the intention 
 of Sir Peter Francis Bourgeois to direct that the President and Acade- 
 micians of the Boyal Academy of Arts should be invested with the 
 power of ascertaining from time to time that the collection of pictures, 
 frames and prints bequeathed by him to the Master, &c., of Dulwich 
 College was properly preserved and kept, and for that purpose that the 
 President and Academicians should be requested to visit the collection 
 once in every year on St. Luke’s day, and give their opinion as to the 
 state and preservation of the same and that on their annual visit a 
 dinner be given to them in the gallery at Dulwich College. Now ap- 
 proving as I do, of the propriety of such annual visitation and being 
 desirous of carrying into effect the intention of my said dear friend, I 
 give and bequeath the sum of Five hundred pounds to the said Master, 
 Warden, and Fellows of Dulwich College, upon trust to invest the same 
 in Government or real securities at interest and apply the interest to 
 arise therefrom for ever, towards the entertainment of the President 
 and Academicians, and in order that the said annual dinner may be 
 properly and suitably given I do hereby bequeath the following articles 
 to the Master, &c., of Dulwich College which I direct shall be preserved 
 by them and never be used on any other occasion for any other purpose 
 whatsoever, viz., three dozen of silver plates with the arms of Noel 
 Joseph Desenfans Esquire engraved on them, a silver bread basket with 
 ditto, four dozen of silver forks engraved with his crest, one dozen of 
 silver spoons ditto, six salt spoons ditto, a large silver waiter, two 
 small ditto, three dozen of ivory-handled knives, the blades steel and 
 plated, a complete dinner service of china dishes, a desert service of five 
 pieces, with two dozen of plates, a large mahogany dining-table, with 
 table cloth, four plated bottle-stands, with decanters and glasses, a ma- 
 hogany press, with shelves and drawers, to be placed in an anteroom 
 containing the above articles. I also bequeath unto the Master, &c., of 
 Dulwich College the following articles, which I direct shall be placed and 
 preserved with the collection of pictures in the gallery of the College, 
 viz., two statuettes one of Noel Joseph Desenfans Esquire, and one of 
 Sir Peter Francis Bourgeois by Westmacott, a sofa and ten chairs 
 covered with green velvet, two commodes with drawers inlaid with brass 
 and tortoise-shell, two ebony tables with gilt legs, an inlaid commode 
 drawer, a mahogany side table with a cistern under it, a French clock 
 standing on a marble slab, two marble vases, five china ditto, ten orna- 
 ments in bronze, twelve cane-bottomed stools, with purple velvet cushions. 
 I also bequeath the following articles unto the said Master, &c., of 
 Dulwich College, which I direct shall be placed and preserved in the 
 mausoleum attached to the same College, viz., two marble busts one of my 
 
204 
 
 APPENDIX B. 
 
 said late dear husband Noel Joseph Desenfans and the other of the said 
 Sir Peter Francis Bourgeois, four stools, and six chairs, the crimson 
 furniture trimmed with gold lace belonging to the chapel annexed to my 
 said house in Charlotte Street, and the mahogany press and shelves con- 
 taining the same, and whereas it was also the wish of my said dear 
 friend Sir Peter Francis Bourgeois, that a person should be appointed to 
 the care of the said collection of pictures to be called the custodio or 
 principal keeper thereof and that a servant should be kept by the said 
 Master, &c., who should attend the said gallery and wear the livery of 
 my late dear husband, Now I do hereby request that the said wish may 
 be strictly complied with by the Master, &c., of the College. And I do 
 hereby entreat that the collection of pictures may be opened by the said 
 Master, &c., for public inspection on one day of the week only, which I 
 recommend to be Tuesday it having been the wish of my dear friend 
 Sir Peter Francis Bourgeois such an arrangement should be made. And 
 I also direct that the annual entertainment to the Boyal Academy may 
 take place on the second Saturday in the month of May or on any other 
 more convenient day of that month, in every year, instead of St. Luke’s 
 day.’ 
 
( 205 ) 
 
 APPENDIX C. 
 
 Copy of a letter from Sir P. F. Bourgeois to the Duke of Portland 
 (dated Jan. 1810), respecting the purchase of a reversion in fee of 3 
 houses in Portland Road and Charlotte St. ; the answer of the Duke of 
 Portland; and also an attested copy of the last will and testament of Sir 
 F. Bourgeois. 
 
 These three papers were given to me on March 14, 1811, by Mr. J. 
 H. Green well, one of the executors of Sir P. F. Bourgeois, with a request 
 that they might be deposited in the library of Dulwich College. 
 
 J. I. S. 
 
 Sir F. B.’s letter to the Duke of Portland is dated January 1810, 
 and after apologies for his intrusion, goes on thus : — 
 
 ‘ The late Mr. Desenfans having been pleased to bequeath to me his 
 truly valuable collection of pictures, unfettered by any condition or 
 restraint whatever ; but having frequently intimated that he should feel 
 much gratified, if, at any future period, that collection were to be made more 
 conducive to the advancement of a Science, to which his anxious views 
 and unremitting Labours had been invariably directed, than the collection 
 would be, if it were to be disposed of and consequently divided among 
 many Individuals ; I have always considered this Intimation to be as 
 obligatory on me, as if it had [been] formally made a condition of his 
 Bequest ; and therefore feeling more deeply impressed by the flattering 
 confidence thus reposed in me than even by the unbounded Liberality 
 displayed towards me, I am most anxiously desirous of fulfilling the 
 wishes of my departed Friend to their fullest Extent. 
 
 ‘ It is, then, with these views that I take the liberty of requesting 
 your Grace’s assistance in completing my present Intentions, which are 
 to bequeath the whole of the late Mr. Desenfans’ collection, with the 
 additions which I have made thereto, in such manner that the same, sup- 
 ported by Funds which I mean to appropriate for that Purpose, may be 
 
20 6 
 
 APPENDIX C. 
 
 gratuitously open, under certain regulations, to artists as well as to the 
 Publick, and thus form, not only a Source of* Professional Improvement, 
 but also an object of national Exhibition, creditable to this kingdom and 
 highly honourable to the memory and Talents of my much-lamented and 
 Esteemed Friend ; but as the Interest I possess in my two Houses in 
 Portland Hoad, and the adjoining House in Charlotte St. (which are 
 amply sufficient and well calculated for the purpose), is only for the 
 remainder of a term of 97 years, commencing from 25th March, 1777, 
 subject to a reserved rent of 16s. per ann., I am extreemly desirous of 
 purchasing the reversion in fee of and in these three Houses expectant 
 upon the Determination of the said Term (and which Reversion, I under- 
 stand, is at present vested in your Grace), in order that I may effectually 
 complete my intentions, which, in case of any unforeseen Impediment 
 occurring in this respect, I must, however unwillingly, Endeavour to 
 fulfil by purchasing a freehold elsewhere, &c. &c. &c.’ 
 
 The Duke of Portland's Reply. 
 
 1 Welbeck ; Jany. 4, 1810. 
 
 i Sir, — I have always understood that I have not the power of selling 
 the reversion of my estate in Marybone {sic). But of that I am not 
 sure. But at all events I should not think it adviseable {sic) to exert 
 the power even if I have it, and therefore I am afraid I must conclude by 
 expressing my regret that it will not be in my power to comply with your 
 request. 
 
 1 1 have the honor to be, Sir, 
 
 1 Your most obedient servant, 
 
 4 Scott Portland. 
 
 4 Francis Bourgeois , Esq.' 
 
( 20 7 ) 
 
 TABLE No. i. 
 
 Containing a List of the Painters’ Names arranged according to 
 the Numbers on the Pictures. The Second Column contains 
 the names as they were in the former edition. 
 
 1 
 
 No. 
 
 1. Gainsborough 
 
 
 2. School op Kigaud 
 
 Rigaud 
 
 3. Opie 
 
 
 4. Bourgeois 
 
 
 5. Cuijp 
 
 
 6. J. van Herp 
 
 
 7. After Potter 
 
 Potter 
 
 8. Romeijn 
 
 
 9. Cuijp 
 
 
 10. Romeijn 
 
 
 11. WlJNANTS 
 
 
 12. WlJNANTS 
 
 
 13. Cuijp 
 
 
 14. POELENBURG 
 
 
 15. Breenburg 
 
 
 16. Breenburg 
 
 
 17. J. Berchem 
 
 
 18. Teniers the Elder 
 
 
 19. Dutch School 
 
 Weenix 
 
 20. Bourgeois 
 
 
 21. Miel 
 
 
 22. After Potter 
 
 Ascribed to Potter 
 
 23. Bourgeois 
 
 
 24. Bourgeois 
 
 
 25. Bourgeois 
 
 
 26. Van Dijck 
 
 
 27. Chardin 
 
 
 28. Casanova 
 
 
 29. Van Huijsum 
 
 
 30. Both 
 
 
 31. Italian School 
 
 Cortese 
 
 32. Lairesse 
 
 
 33. After Rubens 
 
 
 34. Teniers the Elder 
 
 
 35. Teniers the Elder 
 
 
 36. Both 
 
 
 37. After Jordaens . 
 
 Jordaens 
 
 38. Bourgeois 
 
 
 39. Van Huijsum 
 
 
 40. After Titian 
 
 Unknown 
 
 41. Both 
 
 
( 208 ) 
 
 TABLE No. i — continued. 
 
 No. 
 
 42. Lairesse 
 
 43. Italian School 
 
 Cortese 
 
 44. Teniers the Elder 
 
 45. Snayers 
 
 46. Teniers the Elder 
 
 47. School oe du Jardin . 
 
 Ascribed to du Jardin 
 
 48. Dutch School 
 
 Ascribed to du Jardin 
 
 49. School oe Vernet 
 
 Ascribed to Vernet 
 
 50. Teniers 
 
 5]. Aeter J. v. Ruisdael, by 
 
 WOODBURN 
 
 52. Teniers the Elder 
 
 53. Aeter Philips Wouwerman 
 
 Wouwerman 
 
 54. Brouwer 
 
 55. Loutherbourg 
 
 56. Teniers the Elder 
 
 Ascribed to Teniers 
 
 57. Bourgeois 
 
 58. G. B. Tiepolo 
 
 59. Bourgeois, after Cuijp 
 
 60. Teniers 
 
 61 . Teniers the Elder 
 
 Teniers the Younger 
 
 62. Du Jardin 
 
 63. Pieter Wouwerman 
 
 Wouwerman 
 
 64. Pieter Wouwerman 
 
 Wouwerman 
 
 65. Philips Wouwerman . 
 
 Ascribed to Wouwerman 
 
 66. Ommeganck 
 
 67. Italian School 
 
 School of Carracci 
 
 68. Dutch School 
 
 Ascribed to Cuijp 
 
 69. Teniers 
 
 70. Dutch School 
 
 Ascribed to Potter 
 
 71. Teniers 
 
 72. A. y. d. Velde 
 
 73. A. van Ostade 
 
 74. Bourgeois 
 
 75. Bakhuizen 
 
 
 76. Cuijp 
 
 77. Lingelbach 
 
 78. School of Rubens 
 
 Bubens 
 
 79. Neeffs 
 
 80. After Albani 
 
 Albani 
 
 81. Italian School 
 
 Ascribed to Titian 
 
 82. Bourgeois 
 
 83. Cuijp 
 
 84. Teniers the Elder 
 
 Teniers 
 
 85. Dou 
 
 86. Teniers the Elder 
 
 Teniers 
 
( 209 ) 
 
 f 
 
 TABLE No. i — continued. 
 
 No. 
 
 
 87. School oe Albani 
 
 88. Bourgeois 
 
 89. Loutherbourg 
 
 Ascribed to Sacchi 
 
 90. Lingelbach .... 
 
 91. Bourgeois 
 
 92. Monamy 
 
 93. Philips Wouwerman 
 
 ; Unknown (Lingelbach P) 
 
 94. Saenredam .... 
 
 95. Bourgeois 
 
 96. Bourgeois 
 
 Ascribed to Saenredam 
 
 97. Beechey 
 
 1 
 
 98. School oe Kigaud 
 
 Rigaud 
 
 99. G. D. Tiepolo 
 100. Teniers 
 
 G. B. Tiepolo 
 
 101. Hermann Saetleyen . 
 
 102. Segers 
 
 103. Miel 
 
 104. Dusart 
 
 VOSTERMAN 
 
 105. Verwilt .... 
 
 106. Dou 
 
 107. A. yan Ostade 
 
 108. A. v. d. Velde 
 
 109. Bourgeois 
 
 110. Breenburg 
 
 111. Gainsborough 
 
 Poelenburg 
 
 112. V. d. Neer 
 
 113. W. y. d. Velde 
 
 
 114. Ouijp 
 
 
 115. School oe N. Poussin . 
 
 Poussin 
 
 116. Teniers the Elder 
 
 117. After Rubens 
 
 Teniers 
 
 118. School oe Rigaud 
 
 Rigaud 
 
 119. Teniers the Elder 
 
 Teniers 
 
 120. Camphuijsen .... 
 
 121. Van Huijsum 
 
 Potter 
 
 i 122. O. Jannens .... 
 123. Grimou 
 
 Ascribed to yan Duck 
 
 124. School oe yan Duck . 
 
 125. Phil. Wouwerman 
 
 126. Phil. Wouwerman 
 
 127. Bourgeois 
 
 Ascribed to yan Duck 
 
 128. Venetian School 
 
 Ascribed to Giorgione 
 
 129. School oe Murillo 
 
 130. PijNacker 
 
 131. Hobbema 
 
 132. Berchem 
 
 Ascribed to Murillo 
 
 P 
 
( 210 ) 
 
 TABLE No. i — continued. 
 
 No. 
 
 133. Pier di Cosimo 
 
 134. C. Janssens . 
 
 135. Yah Dijck 
 
 136. Phil. Wouwerman 
 
 ( 137. Phil. Wouwerman 
 
 138. Reynolds 
 
 139. Teniers 
 
 140. Van Huijsum 
 I 14] . Chijp 
 
 142. School op N. Poussin . 
 
 143. Reynolds 
 
 144. Phil. Wouwerman 
 
 145. Cuijp 
 
 146. Reynolds 
 
 147. Weenix 
 
 148. Teniers the Elder 
 
 1 149. Teniers the Elder 
 
 150. Pijn acker 
 
 151. Slingeland 
 
 152. Adr. van Ostade 
 
 153. Beechey 
 
 154. J. van Ruisdael 
 
 155. Teniers the Elder 
 
 156. Cuijp 
 
 157. Du Bois .... 
 
 158. Le Nain 
 
 159. Rosa 
 
 160. Berchem 
 
 161. Italian School 
 
 162. Jordaens .... 
 
 163. Cuijp 
 
 164. Italian School 
 
 165. Apter Albani 
 
 166. W. v. d. Velde 
 
 167. School op van Dijck . 
 
 168. School op Rubens 
 
 169. Cuijp 
 
 170. School op Rubens 
 
 171. Rubens 
 
 172. Apter Rubens 
 
 173. Wouwerman 
 | 174. School* op Rubens 
 | 175. After Rubens 
 j 176. Van Borssom 
 177. Ricci 
 
 178. School op Salomon v. Ruijsdael 
 
 Unknown (Boltraffio ?) 
 Van Dijck 
 
 N. Poussin 
 
 Teniers 
 
 Teniers 
 
 Teniers 
 
 Hobbema 
 
 Bereettini 
 
 Rubens 
 
 Berrettini 
 Ascribed to Albani 
 
 Van Dijck 
 Rubens 
 
 Rubens 
 
 Rubens 
 Rubens 
 
 School op Potter 
 I. Ostade 
 
( 211 ) 
 
 TABLE No i. — continued. 
 
 No. 
 
 179. School of Rembrandt 
 
 180. School of Cuijp . 
 
 181. Dutch School 
 
 182. Rubens 
 
 183. Northcote 
 
 184. Cuijp 
 
 185. Teniers 
 
 186. W. v. d. Velde 
 
 187. School of Rubens 
 
 188. Ricci 
 
 189. Rembrandt 
 
 190. Adr. van Ostade 
 
 191. V. d. Werff 
 
 192. Cuijf . 
 
 193. Venetian School . 
 
 194. After Velazquez 
 
 195. Mola 
 
 196. V. d. Heijde 
 
 197. Watteau 
 
 198. School of Berchem 
 
 199. Both 
 
 200. Berchem 
 
 201. Verboom 
 
 202. Vernet 
 
 203. School of P. Veronese 
 
 204. Rubens 
 
 205. Both 
 
 206. Rembrandt 
 
 207. After Rubens 
 
 208. Dutch School 
 
 209. Berchem 
 
 210. Watteau 
 
 211. Claude 
 
 212. G. Poussin 
 
 213. School of van Dijck . 
 
 214. Van Dijck 
 
 215. Wilson 
 
 216. D. van Bergen 
 
 217 . Dolci 
 
 218. School of van Dijck . 
 
 219. Italian School 
 
 220. School of Rosa 
 
 221. Swanevelt 
 
 222. Juan de Pareja . 
 
 223. Lauri 
 
 224. Spanish School . 
 
 Rembrandt 
 Ascribed to Cuijp 
 Kalf 
 
 Ascribed to Cuijp 
 Rosa 
 
 Velazquez 
 
 Ascribed to Berchem 
 Unknown 
 
 Rubens 
 
 Wijnants 
 
 Ascribed to van Dijck 
 
 V. d. Does 
 
 School of Rubens 
 Ascribed to Claude 
 
 Velazquez 
 
 Murillo 
 
 P 2 
 
( 212 ) 
 
 TABLE No. i — continued. 
 
 No. 
 
 
 225. Italian School 
 
 Rosa 
 
 226. Italian School 
 
 DOjVTENICHINO 
 
 227. School op Rubens 
 
 Van Dijck 
 
 228. Phil. Wouwerman 
 
 229. Du Jardin 
 
 
 230. After Titian 
 
 Titian 
 
 231. Zuccarelli 
 
 
 232. English School . 
 
 233. G. B. Tiepolo 
 
 Zuccarelli 
 
 234. School of van Dijck . 
 
 Van Dijck 
 
 235. After Rubens 
 
 236. G. B. Tiepolo 
 
 Ascribed to Rubens 
 
 237. Dutch School 
 
 Coquez 
 
 238. Schalken .... 
 
 239. Cuijp 
 
 240. Rubens 
 
 Elshaimer 
 
 241. J. van Ruisdael . 
 
 242. Van Dijck 
 
 243. Cuijp 
 
 244. Claude 
 
 Ruisdael 
 
 245. School of J. van Ruisdael . 
 
 School of Ruisdael 
 
 246. Italian School 
 
 Guido 
 
 247. L. Cambiaso .... 
 
 248. Murillo 
 
 249. After N. Poussin 
 
 250. Van Dijck 
 
 251. Zuccarelli 
 
 252. Le Brun 
 
 Du Paggi 
 
 253. School of N. Poussin . 
 
 254. Reynolds 
 
 255. After Correggio 
 
 256. SwANEVELT 
 
 257. G. Poussin 
 
 258. V. Delen 
 
 259. Guido 
 
 N. Poussin 
 
 260. School of N. Poussin . 
 
 N. Poussin 
 
 261. Italian School 
 
 Mola 
 
 262. After Murillo 
 
 Murillo 
 
 263. After Titian 
 
 Ascribed to Titian 
 
 264. School of Claude 
 
 265. L. Carracci 
 
 266. Mola 
 
 Ascribed to Claude 
 
 267. Italian School . 
 
 Guido 
 
 268. Venetian School 
 
 269. G. Poussin 
 
 270. Claude 
 
 Veronese 
 
( 213 ) 
 
 TABLE No. i — continued. 
 
 No. 
 
 271. Rosa 
 
 272. Jan Victors 
 
 School of Rembrandt 
 
 273. SWANEVELT 
 
 274. An. Carracci 
 
 275. Claude 
 
 276. School oe G. Poussin . 
 
 G. Poussin 
 
 277. School of Cologne 
 
 School of da Vinci 
 
 278. J. yan Ruisdael and A. V. 
 d. Velde .... 
 
 Wijnants 
 
 279. School of N. Poussin . 
 
 N. Poussin 
 
 280. Guido 
 
 281. After Correggio 
 
 Ascribed to Correggio 
 
 282. School of Rembrandt 
 
 Rembrandt 
 
 283. Murillo 
 
 
 284. Venetian School 
 
 Mola 
 
 285. Reynolds 
 
 286. Murillo 
 
 287. Umbrian School . 
 
 School of da Vinci 
 
 288. German School . 
 
 After Dolci 
 
 289. School of P. Veronese 
 
 290. English School . 
 
 Zuccarelli 
 
 291. N. Poussin 
 
 292. School of N. Poussin . 
 
 N. Poussin 
 
 293. L. Carracci .... 
 
 A. Carracci 
 
 294. Spanish School . 
 
 Murillo 
 
 295. N. Poussin 
 
 296. Ag. Carracci 
 
 L. Carracci 
 
 297. Elshaimer 
 
 298. Italian School 
 
 Schedone 
 
 299. Ribera 
 
 Caravaggio 
 
 300. N. Poussin 
 
 301. Spanish School . 
 
 G. Poussin 
 
 302. School of Schedone . 
 
 Ascribed to Schedone 
 
 303. Italian School 
 
 Claude 
 
 304. Venetian School . 
 
 School of Titian 
 
 305. N. Poussin 
 
 306. Raphael .... 
 
 Designed by Raphael 
 
 307. Raphael .... 
 
 Designed by Raphael 
 
 308. French School 
 
 Chardin 
 
 309. Velazquez 
 
 310. N. Poussin 
 
 311. School of Lod. Carracci . 
 
 School of the Carracci 
 
 312. School of Murillo 
 
 Murillo 
 
 313. Rosa 
 
 Sacchi 
 
 314. Italian School 
 
 Brill ! 
 
 315. N. Poussin 
 
 
( 214 ) 
 
 TABLE No. i — continued. 
 
 No. 
 
 316. School of N. Poussm . 
 
 317. After Murillo . 
 
 318. Berrettihi 
 
 319. Le Bbuh 
 
 320. Italiah School 
 
 321. Ehglish School . 
 
 322. Italian - School 
 
 323. Aftee Titian - 
 
 324. Gehhari 
 
 325. School of N. Poussin 
 
 326. Aftee A. eel Saeto 
 
 327. Aftee A. del Saeto 
 
 328. Bologhese School 
 
 329. Spahish School . 
 
 330. School of Mueillo 
 
 331. Guedo 
 
 332. School of Guido . 
 
 333. P. Veeohese 
 
 334. Bologhese School 
 
 335. An. Carracci 
 
 336. N. Poussin 
 
 337. Dolci 
 
 338. Noethcote 
 
 339. School of Guedo . 
 
 340. Beyholds 
 
 341. Aftee Mueillo 
 
 342. Maratti 
 
 343. School of Alloei 
 344 An. Carracci 
 
 345. All. Tuechi 
 
 346. Sacchi . 
 
 347. Mueillo 
 
 348. GuEBcmo 
 
 349. DoHEniCHmo 
 
 350. Ci&HAni 
 
 351. Bubehs 
 
 352. YEnETiAn School . 
 
 353. Geehah School . 
 
 354. BuGiAEDim . 
 
 . 355. School of BuEEns 
 
 356. Bee chet 
 
 357. Lawrehce 
 
 358. GAmsBoEouGH 
 
 359. Lawrence 
 
 360. Lawrence 
 
 361. GAmSBOEOUGH 
 
 N. Poussin 
 
 Mueillo 
 
 SWANEYELT 
 ZUCCAEELLI 
 A. Careacci 
 Aftee Bubehs 
 Guebcieo 
 
 Ascribed to N. Poussin 
 Asceibed to A. del Saeto 
 
 GuEEcmo 
 
 Asceibed to Moeales 
 Mueillo 
 
 Guido 
 
 Asceibed to Ag. Carracci 
 
 Guedo 
 
 Mueillo 
 
 Alloei, copied "by Bouedoh 
 L. Careacci 
 
 Ascribed to Sacchi 
 
 N. Poussin 
 HoLBEm 
 Sassoferrato 
 Bubehs 
 
( 215 ) 
 
 TABLE No. i — con tinned. 
 
 No. 
 
 
 362. Gainsboeough 
 
 
 363. School of Le Been 
 
 Maeatti 
 
 364. Nuyolone .... 
 
 Peocaccini 
 
 365. Belucci 
 
 
 366. Gainsboeough 
 
 
 367. English School . 
 
 AsCPvIBED TO V. SOMEE 
 
 368. Boijegeois 
 
 
 369. Owen 
 
 
 370. Bouegeois 
 
 
 371. Bouegeois 
 
 
 372. Bouegeois 
 
 
 373. Bouegeois 
 
 
 374. Bouegeois 
 
 
 375. Feench School 
 
 Unknown 
 
 376. English School . 
 
 Unknown 
 
 377. English School . 
 
 Unknown 
 
 378. Dutch School 
 
 Unknown 
 
 379. English School . 
 
 Unknown 
 
 380. English School . 
 
 Unknown 
 
 381. Flemish School . 
 
 Unknown 
 
( 21 6 ) 
 
 TABLE No. 2. 
 
 Alphabetical List of Painters, the Numbers on their Pictures,, 
 and the Total by each. 
 
 The Pictures that are of doubtful authorship, and copies, are 
 indicated by numbers printed in lighter figures than to 
 those that are authentic. 
 
 Navies 
 
 Number in the Catalogue 
 
 Total 
 
 Albani. Francesc'o .... 
 
 80, 87, 265 . . 
 
 3 
 
 Allegri. See Correggio. 
 
 
 
 Allori. Cristofano .... 
 
 343 .... 
 
 1 
 
 Bakhuizen. Ludolf .... 
 
 75 
 
 1 
 
 Barbieri. See Guercino. 
 
 
 
 Beechey. Sir William, R.A. 
 
 97, 153, 356 . 
 
 3 
 
 Belucci. Antonio .... 
 
 365 .... 
 
 1 
 
 Berchem. Nicolaas .... 
 
 17, 132, 160, 198, 200, 
 
 
 
 209 ... 
 
 6 
 
 Bergen. Dirk van .... 
 
 216 
 
 1 
 
 Berrettini. See Pietro da Cortona. 
 
 
 
 Bois. Guillam DU .... 
 
 157 . 
 
 1 
 
 Bolognese School .... 
 
 328, 334 . 
 
 2 
 
 Borssom. Abraham van 
 
 176 
 
 2 
 
 Both. Jan and Andreas 
 
 30, 36, 41, 199, 205 
 
 5 
 
 Bourgeois. Sir P. F., R.A. . 
 
 4, 20, 23, 24, 25, 38, 57, 
 
 
 
 59, 74, 82, 88, 91, 95, 
 
 
 
 96, 109, 127, 368, 370, 
 
 
 
 371, 372, 373, 374 
 
 22 
 
 Breenbergh. Bartholomeus 
 
 15, 16, 110 . . 
 
 3 
 
 Brouwer. Adrian .... 
 
 54 
 
 1 
 
 Bugiardini. Giultano .... 
 
 354 
 
 1 
 
 Caliari. See Veronese. 
 
 
 
 Cambiaso. Luca 
 
 247 
 
 1 
 
( 217 ) 
 
 TABLE No. 2 — continued. 
 
 Names 
 
 Number in tlie Catalogue 
 
 Total 
 
 Camphuijsen. Govaert 
 
 
 
 120 
 
 1 
 
 Carracci. Agostino 
 
 
 
 296 . 
 
 1 
 
 Carracci. Annibale 
 
 
 
 274, 335 , 344 . 
 
 3 
 
 Carracci. Ludovico 
 
 
 
 265 , 293 , 311 . 
 
 3 
 
 Casanova. Francesco 
 
 
 
 28 .... 
 
 1 
 
 Chardin. Jean Baptiste 
 
 
 
 27 
 
 1 
 
 Cignani. Carlo 
 
 
 
 350 .... 
 
 1 
 
 Claude Gellee. Le Lorrain 
 
 
 
 211 , 244 , 264, 270 , 275 . 
 
 5 
 
 Cologne. School of 
 
 
 
 277 
 
 1 
 
 Correggio. Antonio Allegri 
 
 
 
 255, 281 . 
 
 2 
 
 Cortona. P. Berrettini da 
 
 
 
 318 ..... 
 
 1 
 
 Cosimo. Piero di . 
 
 
 
 133 
 
 1 
 
 Cuijp. Aelbert 
 
 
 
 5 , 9 , 13, 76 , 83 , 114 , 141 , 
 
 
 
 
 
 145 , 156 , 163 , 169 , 180, 
 184 , 192 , 239 , 243 
 
 16 
 
 Deelen. Dirk van 
 
 
 
 258 . 
 
 1 
 
 Dijck. Sir Antonius van . 
 
 
 
 26, 124 , 135 , 167, 213, 
 
 
 
 
 
 214 , 218 , 234, 242 , 250 
 
 10 
 
 Dolci. Carlo .... 
 
 
 
 217 , 337 . 
 
 2 
 
 Domenichino. D. Zampieri 
 
 
 
 349 . 
 
 1 
 
 Dou. Gerard 
 
 
 
 85, 106 . 
 
 2 
 
 Dughet. See Poussin. G. 
 Du Jardin. Karel 
 
 
 
 47, 62 , 229 . . 
 
 3 
 
 Dusart. Cornelius 
 
 
 
 104 
 
 1 
 
 Dutch School 
 
 
 
 19, 48, 68, 70, 181, 208, 
 
 
 
 
 
 237, 378 . . 
 
 8 
 
 Elshaimer. Adam 
 
 
 
 297 
 
 1 
 
 English School (Unknown) . 
 
 
 
 232, 290, 321, 367, 376, 
 377, 379, 380 . 
 
 8 
 
 Flemish School . 
 
 
 
 381 
 
 1 
 
 Franken. Franz and Neefs 
 
 . 
 
 
 79 
 
 1 
 
 French School 
 
 
 
 375, 388 . 
 
 2 
 
 Gainsborough. Thomas, R.A. 
 Gellee. See Claude. 
 
 
 
 1 , 111 , 358 , 361 , 362 , 366 
 
 6 
 
 Gennari. Benedetto . 
 
 
 
 324 
 
 1 
 
 German School 
 
 
 
 288, 353 . 
 
 2 
 
 Grimou. Alexis 
 
 
 
 123 
 
 1 
 
 Guercino. Giovanni Francesco 
 
 
 
 348 
 
 1 
 
 Heijde. Jan van der . 
 
 
 
 196 
 
 1 
 
( 218 ) 
 
 TABLE No. 2 — continued. 
 
 Names 
 
 Number in the Catalogue 
 
 Total 
 
 Herp. Gerard van .... 
 
 6 
 
 1 
 
 Hobbema. Meindert .... 
 
 131 
 
 1 
 
 Huijsum. Jan van .... 
 
 29, 39, 121, 140 . 
 
 4 
 
 Italian School 
 
 31, 43, 67, 81, 161, 164, 
 219, 225, 226, 246, 261, 
 267, 298, 303, 314, 320, 
 
 
 
 322 
 
 17 
 
 Janssens. Cornelis van G'eulen 
 
 122 
 
 1 
 
 Jordaens. Jacob 
 
 37, 162 . 
 
 2 
 
 Lairesse. Gerard de . 
 
 32, 42 
 
 2 
 
 Lauri. Filippo 
 
 223 
 
 1 
 
 Lawrence. Sir Thomas, P.R.A. . 
 
 357, 359, 360 . 
 
 3 
 
 Le Brun. Charles .... 
 
 252, 319, 363 . 
 
 3 
 
 Lingelbach. Johann .... 
 
 77, 90 
 
 2 
 
 Loutherbourg. Philip James, P^.A. . 
 
 55, 89 
 
 2 
 
 Maratti. Carlo 
 
 342 
 
 1 
 
 Miel. Jan ...... 
 
 21, 103 . 
 
 2 
 
 Mola. Pietro Francesco 
 
 195, 266 . 
 
 2 
 
 Monamy. Peter 
 
 92 
 
 ] 
 
 Murillo. Bartolome Esteban . 
 
 129, 248, 262, 283, 286, 
 
 
 
 312, 317, 330, 341, 347 
 
 10 
 
 Nain. Louis, Antoine, and Matthieu le 
 
 158 
 
 l 
 
 Neeffs. Pieter 
 
 79 
 
 1 
 
 Neer. A art van der .... 
 
 112 
 
 1 
 
 NORTHCOTE. JAMES, E.A. 
 
 183, 338 . 
 
 2 
 
 Nuvolone. Carlo Francesco 
 
 364 
 
 1 
 
 Ommeganck. Balthazar Paul . 
 
 66 
 
 1 
 
 Opie. John, Pt.A 
 
 3 
 
 1 
 
 Ostade. Adrian 
 
 73, 107, 152, 190 . 
 
 4 
 
 Owen. William, R.A 
 
 369 
 
 1 
 
 Pareja. Juan de 
 
 222 
 
 1 
 
 Pijnacker. Adam 
 
 130, 150 . . . 
 
 2 
 
 POELENBURG. CORN ELIS VAN 
 
 14 
 
 1 
 
 Potter. Paulus 
 
 7, 22 . . / 
 
 2 
 
 Poussin. Gaspar 
 
 212, 257, 269, 276 . . 1 
 
 4 
 
TABLE No. 2 — continued . 
 
 Names 
 
 j Number in the Catalogue 
 
 Total 
 
 Poussin. Nicholas .... 
 
 115, 142, 249, 253, 260, 
 279, 291, 292, 295, 300, 
 305, 310, 315, 316, 325, 
 336 ... 
 
 16 
 
 Raphael 
 
 306, 307 . 
 
 2 
 
 Rembrandt. Harmensz van Rijn 
 
 179, 189, 206, 282 . 
 
 4 
 
 Reni. Guido ...... 
 
 Reynolds. Sir Joshua, P.R.A. . 
 
 259, 267, 280, 331, 332, 
 
 339 ... 
 
 138, 143, 146, 254, 285, 
 
 340 ... 
 
 6 
 
 6 
 
 Ribera. Jusepe de 
 
 299 
 
 1 
 
 Ricci. Sebastiano .... 
 
 177, 188 . 
 
 2 
 
 Rigaud. Hyacinthe .... 
 
 2, 98, 118 
 
 3 
 
 Romeijn. Willem .... 
 
 8, 10 .... 
 
 2 
 
 Rosa. Salvator 
 
 159, 220, 271, 313 . 
 
 4 
 
 Rubens. Sir Peter Paul 
 
 33, 78, 117, 168, 170, 171, 
 172, 174, 175, 182, 187, 
 204, 207, 227, 235, 240, 
 351, 355 
 
 18 
 
 Ruijsdael. Salomon van . . 
 
 178 
 
 1 
 
 Ruisdael. Jacob van .... 
 
 51, 154, 245, 245, 278 . 
 
 5 
 
 Sacchi. Andrea .... 
 
 346 
 
 1 
 
 Saenredam. Pieter J. 
 
 94 .... 
 
 1 
 
 Saftleven. Herman .... 
 
 101 
 
 1 
 
 Sarto. Andrea del .... 
 
 326, 327 . 
 
 2 
 
 SCHALKEN. GODFRIED .... 
 
 238 
 
 1 
 
 Schedone. Bartolomeo 
 
 302 
 
 1 
 
 Seghers. Daniel 
 
 Silva. See Velazquez 
 
 102 
 
 1 
 
 Slingeland. Pieter C. van 
 
 151 ! 
 
 1 
 
 Snayers. Pieter 
 
 45 
 
 1 
 
 Spanish School 
 
 224, 294, 301, 329 . 
 
 4 
 
 SWANEVELT. HERMAN .... 
 
 221, 256, 273 . 
 
 3 
 
 Teniers. David the Elder 
 
 18, 34, 35, 44, 46, 52, 56, 
 61, 84, 86, 116, 119, 
 148, 149, 155 
 
 L 
 
 Teniers. David 
 
 50, 60, 69, 71, 100, 139, 
 185 ... 
 
 7 
 
 Tiepolo. Giovanni B 
 
 58, 233, 236 . 
 
 3 
 
( 220 ) 
 
 TABLE No. 2 — continued. 
 
 Names 
 
 Tiepolo. Giovanni D. . 
 
 Titian. Vecellio 
 Tuechi. Allessandeo . 
 
 Umbeian School .... 
 Unknown. See English School 
 
 Vannucchi. See Sakto. Del. 
 Velazquez de Silva. Don Diego 
 Velde. Adkian van de 
 Velde. Willem van de 
 Venetian School 
 
 Veeboom. A. H 
 
 Veenet. Claude J. 
 
 Veeonese. Paolo Caliaei . 
 
 Veewilt. FEAN9OTS 
 
 Victoes. Jan . . . . 
 
 Watteau. Antoine 
 Weenix. Jan 
 
 Webff. Adeaen van dee . 
 
 Wijnants. Jan . . . . 
 
 Wilson. Richaed, R.A. 
 Wouweeman. Philips . 
 
 WOUWEKMAN. PlETEE . 
 
 ZUCCAEELLI. FEANCESCO 
 
 Number in the Catalogue 
 
 Total 
 
 99 
 
 1 
 
 70, 230, 263, 323 . 
 
 4 
 
 345 
 
 1 
 
 287 
 
 ! 1 
 
 194, 309 . 
 
 2 
 
 72, 108 . 
 
 2 
 
 113, 166, 186 . 
 
 3 
 
 128, 193, 268, 284, 304, 
 352 * . 
 
 6 
 
 201 
 
 1 
 
 49, 202 . 
 
 2 
 
 203, 289, 333 . 
 
 3 
 
 105 
 
 ]. 
 
 272 
 
 1 
 
 197, 210 . 
 
 2 
 
 147 
 
 1 
 
 191 
 
 1 
 
 11, 12 
 
 2 
 
 215 
 
 1 
 
 53, 65, 93, 125, 126, 136, 
 137, 144, 173, 228 
 
 10 
 
 63, 64 
 
 2 
 
 231, 251 . 
 
 2 
 
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