THW E ? '- CATALOGUE OF THK ROYAL UFFIZI GALLERY FLOEENCE EDIT. KY THE COOPERATIVE PRINTING ASSOCIAT. Via Pietrapiana. N. 46 1897. All rights reserved. INDEX Plan of the Uflizi Gallery Pag. 5 Rules for Artists 7 List of the public Galleries, Museums and other art Mo- numents to be visited in Florence, and relative prices for admission ivi Days and hours in which Galleries, Museums, etc., are open 8 THE UPFIZI GALLERY 9 PART THE FIRST Sculptures. On the Stairs 15 First Vestibule ivi Second Vestibule 17 First Corridor 18 Second Corridor 33 Third Corridor 37 The Hall of Niobe 45 Inscriptions and Sculptures 50 Cabinet of the Hermaphrodite 56 In the Hall of the Portraits of Painters 58 Second Saloon of the Flemish and German School . 60 Saloon of the Italian School ivi Tribune ivi Cabinet of Gems 63 Cabinet of Cameos, engraved stones, nielli, etc. ... 66 INDEX PART THE SECOND Frescoes ou the ceilings of the Corridors . . . Pag. 71 Paintings. First Corridor 75 Second Corridor Third Corridor Original Drawings of Ancient great Masters .... 1 Feroni Gallery 101 Sketch and Pastel Booms and the Collection of small Portraits 102 Hall of Niobe 103 Baroccio 104 Portraits of ancient and modern Painters painted by themselves 113 Corridor leading to the Hall of Lorenzo Monaco . . .129 Hall of Lorenzo Monaco 130 Venetian School First Hall 134 Second Hall 140 French School 145 Flemish and German Schools First Saloon .... 151 Second Saloon . . . 158 Dutch School 160 Italian School 180 Tribune 190 Tuscan School First Hall 198 Second Hall 209 Third Hall 216 Corridor which leads to the Palatine Gallery .... 221 Engravings ivi Portraits of eminent personages 223 Portraits and Costumes XVIth, XVIIth and XVIIIth cent. . 231 Views of different Towns, Fortresses, popular and reli- gious Fetes 236 Other Portraits which are scattered in the different halls of the Gallery 237 I : 22 i 23 i 24 PLAN or THE UFFIZI GALLERY XI 1. First vestibule. 2. Second 3. Kirst corridor. 4. Second > 5. Third > 6. Original Drawings. 7 j Sketch & Pastel Rooms & 8.J coll. of small Portraits. 9. Hall of Niobe. 10. of Baroccio. 11. of Inscriptions. 12. Cabinet of the Herma- phrodite. 13. Cabinet of Cameos, etc. 14. Portraits of Painters. 15. Corridor leading to the Palatine Gallery. 16. j Corridor and Hall of D. Lo- ll | renzo Monaco. 18. Curator of the Gallery. 19. Venetian School. 20. Cabinet of Gems. 21. French School 22. German and Flemish School. 23. Dutch School. 24. Italian School. 25. Tribune. 26. Tuscan School. Rules for Artists. Native Artists may get free admission to the Galleries, Museums, etc., by showing a document from one of the Royal Academies of the State, attesting their qualities. Foreign artists only need to be introduced or recom- mended by their Consuls. To make copies an introduction is necessary from one of the directors or presidents of our public Schools of art or Academies. List of public Galleries, Museums, &c. to be visited in Florence. britl'tinCe Tee grown people children Uffizi Gallery (Uffizi Lunghi) L. 1,00 L. 0,50 Palatine or Pitti Gallery (Piazza de' Pitti) 1,00 0,50 Ancient and Modern Gallery (Via Ricasoli,54) 1,00 0,50 Buonarroti Gallery (Via Ghibellina, 64 . 0,50 0,25 National Museum (Via del Proconsolo, 2) . 1,00 0,50 Archaeological Museum ) (ViadellaCo- n Cfl Gallery of Aratn \ lonna, 26) ' ^ ' 50 Museum of St. Marco (Piazza S. Marco, 1) 1,00 0,50 Gallery of works in pietra dura (Via degli Alfani, 82) 0,50 0,25 Medicean Chapel (Piazza Madonna) ... 0,50 0,25 Cenacolo-di Foligno (Via Faenza) ... 0,25 Cenacolo by Andrea del Sarto (San Salvi). 0,25 Cenacolo by Ghirlandaio (Borgognissanti, 34) 0,25 Fresco by Perugino in the Convent of St. Mary Magdalene de' Pazzi (Via della Colonna, 1) 0,25 Cenacolo di S. Appollonia (Via Ventisette Aprile 0,25 The Buonarroti Gallery is never visible on fete days, and is open from 9 to 3 on other days. The admission 8 PUBLIC GALLERIES, MUSEUMS, ETC. is free every Monday and Thursday. All the other Galleries, Museums, etc., are open daily from 10 to 4, with the exception of the following fete-days : 1. New year's day. 2. Epiphany. 3. The King's birth day. 4. Easter. 5. Ascension-day. 6. Corpus Domini. 7. National fete-day. 8. St. John's day. 9. St. Peter and Paul's day. 10. Assumption. 11. XX September. 12. All-Saints day. 13. Immaculate Conception. 14. The Queen's birth day. 15. Christmas day. On all other fete-days the admission is free. The Cenacolo by Ghirlandaio and the Fresco by Perugino are only open from mid-day to 4. THE UFFIZI GALLERY The Uffizi Gallery was founded and unceas- ingly enlarged by the Medici. Although ori- ginally engaged in trade and industry, this fa- mily, even before it obtained the supreme power in Florence, did all in its power to encourage and foster the fine arts, science and literature. The first of the Medici who collected at his own expense pictures and sculptures with which to adorn his private mansions and the city of Flo- rence, was Gosimo of Giovanni, of Averardo, known as Pater Patrice. His example was followed by Lorenzo the Magnificent, the first Grand-Duke Gosimo I, and the son of the latter, Francesco I. It is to Francesco that we may really attribute the formation of the Gallery. He took advantage of the great building which Gosimo I had projected to lodge all public of- fices; of which the foundations had been laid on Giorgio Vasari's plans in 1500. This build- ing, Doric in style and rectangular in form, has 10 THE UFFIZI GALLEKY porticoes where it starts from Palazzo Vecchio, ends at the Loggia d' Orcagna and is crowned by a terrace that runs along all three of its sides. It appeared to Francesco that the terrace on the eastern side of the palace, once it were shut in, would be a fitting place to receive the pictures, sculptures, and other artistic wealth that his ancestors had accumulated at their own expense, and which were now scattered among the various mansions of the family. He therefore entrusted the architect Bernardo Buontalenti with the duty of transforming the terrace into a gallery. Buontalenti executed his work well : he ornamented the place with marbles, had the ceiling painted by first-rate artists, and built other rooms on to the corridor, notably the octagonal one known as the Tribuna, which is paved with rich marbles and roofed by a dome inlaid with mother-of-pearl. Ferdinand I, successor to Francesco I, still further enriched the gallery : he it was who bought in Rome the Venus known as the Venus of the Medici, the work of Gleomenes son of Apollodorus. The Grand-duke Ferdinand II caused the southern and western arms of the terrace to be covered in, thus adding two new corridors to the gallery. He also enriched it with many new treasures, among which should be specially mentioned the very interesting col- lection of cameos and gems. In this he was ma- terially helped by the advice of his brother, the cardinal Leopold, to whom we owe the collection of drawings by old masters, and the beginning of that unique collection of portraits of Italian THE UFFIZI GALLERY 11 and foreign artists painted by themselves, to which additions are still being made. Ferdinand II had a worthy successor in Go- simo III, who, besides buying medals and other antiquities, caused many sculptures to be removed from the Boboli Gardens to the Gallery, and enriched the Tribuna with the celebrated statues of the Venus of the Medici, the Knife-grinder, and the Wrestlers bringing them from his villa at Rome. After the death of Giovanni Gastone, last of the Medicean Grand-dukes, the Electress Palatine Anna Maria Luisa dei Medici, his sister and heir, bequeathed to Tuscany both the real and the personal property which she had inherit- ed (including, of course, the Gallery, pictures, sta- tues, libraries, gems and other precious objects), on condition that the rulers of Tuscany should preserve things as they then were, and should not remove from the Capital anything destined for public use. The substitution on the throne of Tuscany of the house of Lorraine for that of the Medici did not interfere with the preservation and growth of the Gallery; for Francesco I enriched it with antiquities of great price, and Peter Leopold I, who succeeded him in 1765, continued the work of his predecessors, accumulating in it all the good paintings which were scatter- ed here and there in the public offices. He restored the western corridor, 57 metres of which had been injured by fire, built new rooms, and threw open the Gallery to the public. Little was clone during the reign of Ferdi- nand III, on account of the political troubles 12 THE UFFIZI GALLERY which disturbed Europe at the end of last cen- tury and the beginning of this. But Ferdinand's son, Leopold II, extended the Gallery by build- ing an immense hall to receive the Greek sta- tues, illustrative of the Niobe myth, which car- dinal Ferdinand dei Medici, afterwards Grand- duke, had bought to adorn his villa on the Pincio at Rome. Under Leopold II, too, the collection was enriched by the addition of 900 objects exca- vated in Thebes and Abydus; and the valuable collection of engravings was partially put into order. When, in 1859, the Grand-ducal govern- ment came to an end, and Tuscany was incor- porated in the Kingdom of Italy, the new Go- vernment continued to enrich the Gallery with works of art and to improve the locale. In the first place a rational arrangement was attempted of the works of art, which had hitherto, it must be confessed been in a state of some confusion ; and means were also sought of exhibiting to the public at least a part of those pictures etc., which, for want of space, were heaped up in the store-rooms. This was rendered possible by the founding of the National Museum in the Palazzo Pretorio; to which, in 1864:, were sent the bronzes of Cellini, Donatello, Ghiberti and Giambologna, as well as the sculptures of Be- nedetto da Rovezzano and of Verrocchio, toge- ther with some basreliefs of Luca della Robbia. And in 1866, still with object of extending the exhibition of the works of art, it was resolved to open to the public that part of the corridor built by Gosimo I after the plans of Vasari, which, starting from the Uffizi Gallery, is carried THE UFFIZI GALLERY 13 over the Arno by the Ponte Vecchio, and thus joins the Uffm with the Pitti Gallery. In this corridor a great number of drawings were ar- ranged, a quantity of beautiful tapestries, some sketches by famous painters, and a collection of pictures of birds, quadrupeds, fishes and flowers painted in distemper by Bartolommeo Ligozzi. Later on, when the Archaeological Museum was opened, the tapestries, to which many others were added, were carried thither, and arranged on the top floor, thus forming a special gallery ; the drawings were placed in glass cases along the first and third corridors of the Uffizi Gallery; and Ligozzi's paintings were removed to the Natural History Museum. A series of portraits of the Medici, of noble Florentines, of men of science and of other famous personages filled up the space thus left empty in the corridor which connects the two Galleries. Even so, however, there was not sufficient space to exhi- bit many works of art which still remained in the store-rooms now to order those already exhibited on any reasonable principle. Many plans were therefore considered for increasing the locale, and it was proposed to erect a large building in which to collect all the objects from the galleries and museums, disposing them in logical and rational order; but financial reasons hindered the execution of this project. It was then thought that the Medicean theatre, under- neath the Gallery, might be turned to account. In 1865 this theatre had been transformed into a hall for the meeting of the Senate, Florence being at that time the provisional seat of the 14 THE UFFIZI GALLERY * Italian government; and it was now suggested to incorporate it with the Gallery. Plans, di- viding into ten large rooms, were placed before the Minister of Public Instruction, and speedily approved. In the year 1890 the work was begun, and the new halls will be finished as soon as possible, thus rendering it practicable to arrange worthily and reasonably the precious collection of paintings that belongs to this Gallery. PART THE FIRST ANTIQUE SCULPTURES, GEMS, CAMEOS, ETC. On the Stairs. Some busts of a fine style. Bacchus. A marble statue. Similar to that which is seen in the Museum in Rome, except that the stagskin which hangs from his shoulders and the posi- tion of his left arm is different. The pedestal is antique, and bears an inscription still in a good state of preservation. First Vestibule. Here the busts are collected of the various princes who have contributed to the Gallery or have later en- riched it. Some of them are in porphyry, and were carved by means of a certain kind of very hard temper- ed steel, obtained by a special method, which is said to have been invented by Cosimo I, just for this purpose, 16 SCULPTURES in the year 1555. Battista del Tadda a Faesulan sculptor was the first to employ this, and the secret was then revealed to Raphael Curradi, who, after the model of Orathius Mochi, a pupil of Caccini, sculptured the bust of Cosimo II which is also here. The Latin inscriptions which are on the base of each bust to indicate the role of the different Tuscan rulers in the formation and successive increase of the G-allery, were composed by the Abbot Lanzi, with the exception of that which is under the portrait of Leo- pold II, written by the Comm. Jean Grysostomug Fei - - rucci. I. Lorenzo il Magnifico, in marble. II. Cosimo I, in bronze. III. Francesco I, in marble. IV. Ferdinando I, in porphyry. V. Cosimo II, in porphyry. VI. Ferdinando 77, the head alone, in porphyry. VII. Cardinals Leopoldo, in marble. VIII. Cosimo III, in marble. IX. Gio. Gastone, in marble. X. Ferdinando III, in marble. XI. Leopoldo II, in marble. XII. Vittoria della Rovere, in marble. XIII. Magdalene of Austria, in marble. STATUES. 2. Mars Gradivus, a bronze statue larger than life. The figure is nude, with a helmet on its head, a stick in its right hand and a sword in its left. --It was taken from Rome, in 1788. FIRST VESTIBULE 17 3. Silenus holding a little Bacchus on his arm : a group in bronze ; an old cast from the original, which is kept at Rome in the Villa Pinciana. This copy was brought from Rome in 1788. An ancient group similar to this, but in marble, is in the Louvre Museum at Paris. Second Vestibule. 16. 17. Two quadrangular columns in marble, which seera to have been raised to celebrate the exploits of the personage to whom they were dedicated. They are all covered with carved figures of ancient arms of all kinds, musical instruments, flags, portable altars and in short every sort of old warlike utensils used in battles by sea or by land, or for religious purposes when marching or resting on battle fields. The carvings of these columns are quite in Roman style, but the form of the objects represented is Greek, and may be interesting to those who apply themselves to the study of ancient arms. 18. A marble horse (life size'). It has been supposed to belong to the group of the Niobe family but it was discovered in a different place. 19. A marble boar (life size). Of this fine Greek work a copy is kept in the Louvre Museum, and another one in bronze made by Tacca adorns the fountain before the portico of Mercato Xuovo, in Florence. 20. Apollo, a statue larger than life. Holding a torch in his hand and looking upwards. The torso and right leg. which are the only ancient parts of it. have been spoiled by a modern attempt to restore it (perhaps with the intention of changing it, into a Prometheus, kindling his fire at the sun . 18 SCULPTURES 21. Adrian (larger than life). The simple and noble style of the drapery of this statue is particulary worthy of remark. 22. Trajan (larger than life) is clad in the armour proper to the .Roman emperors. The cuirass is rich in ornaments of a most exquisite stile. It was brought from Rome, in 1789. 23. Augustus, haranguing (larger than life), holds a volume in his left hand; his drapery is exceedingly fine and minutely carried into detail, but not quite natural. The head is modern. 24. 25. Two dogs (life size). 26 to 33. Eight busts, five of which are of men and three of women. 34. Above the entrance-door, a bust of the Gfranduke Peter- Leopoldo, by Carradori. First Corridor. STATUES, BUSTS AND SARCOPHAGI. 37. Pompeus. A bust in marble (life size). He was son of Pompeus Strabo, being born in the year 648 A. U. C. and dying at the age of 59. 38. Hercules killing the Centaur Nesso. A marble group (life size). Hercules stands wearing his lion skin and parazonius on his left arm, with which he grasps the right arm of the Centaur, while he is catching hold FIHST COHEIDOK 19 of his hair with the other. The expression of pain seen on the monster's face is very remarkable. The Hercules and the head of the Centaur are modern. 39. The different epochs in the life of a hero. A sarcophagus in marble. On the left side the birth is represented. The mother is sitting, looking at her child, who is held over a basin by its nurse. It is nude and looks up at a globe placed on a little column, on which Urania foretells the destiny of the newly born, while another woman is stretching her right hand to the globe. and holding a volume in the left. The education of the child is then seen. He is clad in a tunic, in the act of reading from a book, held before him by his tutor. A woman stands behind, bearing a tragical mask in her right hand. The fore -part of the sarcophagus represents the wedding. The cloth stretched behind the figures shows that the ceremony takes place in a room. The bride- groom is dressed in a toga holding a scepter in one hand, and the right hand of his bride in the other. The bride is veiled in the flammeum. Juno stands behind, placing her hands on their sholders. Hymen is waving his torch, and a woman is seen standing by the bride and an old man by the bridegroom. A sacri* fice is shown in the fourth bas-relief. The sacrificer, dressed in a tunic, stands before a temple, holding a palm in its left hand, and with the other pouring a liquor from a goblet (patera} on to an altar. Two at- tendants half naked, one of whom kneeling, keeps the head of a bull bent, while the other lifts his poleaxe to kill the animal. Behind the altar stands a player of a double flute (tibia). The fifth composition represents the hero after a victory. He stands on a stone, dressed in a tunic and mantle (clamys) in a field, followed by the personification of Victory. A nude boy and a woman dressed in a tunic are before him in a suppliant attitude ; behind them stands a soldier with lance in hand. Then a hunting party is represented, by an elderly man mounted on a horse and bearing a spear in his right hand, followed by another on horse-back equally armed ; two hounds run before them towards a wild boar standing by a rock. The last section con- 20 SCULPTURES tains the figure of the hero in old age, sitting at a door, clad in a cuirass, and holding a long spear. A soldier kneeling takes off one of his greaves ; the other having been already taken off is seen lying on the ground with two shields. Another soldier is standing with a sword unsheated in his hand. At the back of the sarcophagus the following inscription is written : ROMANUS ROMULUS. 40, 42, 47. Three busts representing Augustus in different ages. The number 40 however has exactly the features described by Suetonius. The hair is a little crisp, the brows are thick and meet ; the ears are small and well shaped ; the nose is prominent and slightly hooked. 41. Julius Caesar. A bust with a bronze head. Its features are very like those of this emperor in the most authenticated medals, but the antiquity of this bust is however doubtful. Julius Caesar was born in Rome in July, 654 th A. U. C. 100 years before the Christian era. He was the son of Lucius Julius Caesar and Aurelia and was not only a great warrior but was also a great promoter of the fine arts, and several of the ancient Roman Museums were founded by him. This bust may have been made before he obtained from the Senate the privilege of wearing the laurel crown ; a privilege which was the dearer to him (as they say), because it served to hide his baldness which he much disliked to show in public. 43. Julius Caesar. Another bust in marble. The antiquity of this one is certain. 44. Atys. A statue larger than life. A modern res- torer intended to change it into a barbarian king; its torse however, which is old, clearly indicates its primi- tive subject. 45. Proserpine, the daughter of Jupiter and Ceres ravished by Pluto. A sarcophagus. At the two extre- mities are two personifications of Victory bearing flo- wers and fruits in the folds of their dresses, which they spread like aprons before them. Between them, FIRST CORB1DOR 21 to the left, is a figure of Mercury, naked, except his shoulders which are covered by a mantle (clamys). He bears the caduceus, and holds the reins of Pluto's horses, gal lopping over a figure lying with the cornucrtpia in its left hand, representing the Earth. Above is a fly- ing cupid, holding his torch. Pluto is in his chariot and holds the desolate Proserpine with both his arms bound. Minerva stands before him and seem to reproach him. while three girls stand by her near an altar, one of them holding up Minerva's shield before the goddess, in order to calm her. Then Ceres is figui'ed, with a torch in her left hand, on a chariot, dragged by ser- pents : a man follows the chariot, beneath whom a woman is lying, her elbow leaning on a crater. On the left side of the sarcophagus is Mercury, leading a veiled woman to Hades ; on the right. Hercules calling another veiled woman out of the tartarean gates. - - This sar- cophagus belonged to the Micheloaei family, who pur- chased it in 1787. 46. Livia, a bust. This princess who possessed an extraordinary beauty and wit but a corrupt heart and mind, was the daughter of Livius Drusus Callidianus, a descendent of the illustrious family of the Claudiuses. Several provinces honoured her by coining medals to her with the adulatory titles of Mater Patrice, and Ge- nitrix orbis, which Rome never granted to her. 48. Marcus Agrippa, son in law of Augustus. The head of this bust is splendid and wonderfully represents what Tacitus narrates about this illustrious man. 49. Julia, daughter of Augustus was first the wife of Agrippa and then of the emperor Tiberius. She pos- sessed the most admirable beauty, and Domitianus had her represented in the form of a goddess. This bust and that of Agrippa belong to the best epoch of the Roman sculpture. 50. Tiberius, was born in the year 712 A. U. C. (42 A. D.). and was the son of Tiberius Claudius Nero and Livia. This bust appears to have been made in the first years of his reign, as his dissolute, cruel, and turbulent life, while he was on the throne, altered his 22 SCULPTURES look entirely and his face was all spotted with blains in his latter years. He died at the age of 78, having reigned for 22 years. 51. The god Pan with the young Olympus. A marble groop (life-size). The whole figure of Olympus is mo- dern, and the right arm of the satyr is partly restored. Come from Borne in 1788. 52. Athlete. A statue (larger than life). He is naked, except his left arm wrapped in his clamys or ephaptides, which hangs from it. The head is a little turned to be right, and the arm raised. The half of this is modern. 53. Antonia, a bust. She was a daughter of Marcus Anton ius and Ottavia the sister of Augustus and mo- ther of Claudius. The sculptor has perfectly succeeded in representing in this bust, by a remarkable sweetness of features and modesty in the expression of the eyes, the well known merits of this matron, whom Caligola himself honoured with the proud title of Augusta, granting to her the honours due to Vestals. 54. Drusus, was a brother of Tiberius: his life was glorious but short, as he died at the age of 39, in con- sequence of a fall from a horse. 55. Agrippina. She was the wife of Germanicus and mother of Caligula. The high and noble feelings which adorned the mind of this virtuous empress, are well expressed in her features. 56. Hippolytus. The front-side of this sarcophagus is divided into two parts by the pillar of a gate, and represents two different subjects, one of which is the temptation of Hippolytus ; the other is Hippolytus hunt- ing a wild boar. The first part bears the figure of Phaedra ; sitting among some girls, one of whom is tearing her own hair, and another one bears a volume in her hands ; a young cupid is before her holding his torch in his right hand and his quiver in his left. The old nurse is speaking to Hippolytus, but he turns his back upon her. He wears a clamys and holds a spear in his left hand. Behind him is a hunter stand- ing with his right arm placed on the neck of a horse, FIRST COEEIDOE 23 and his left grasping a spear. Another hunter follows him, with two hounds. Beyond the pillar is Hippolytus naked, on horse back, accompanied by another horse- man ; both followed by Diana, hunting a stag. Then Hippolytus is seen hunting a wild boar. On the right side of the sarcophagus Hippolytus is represented in the act of making a drink offering to Diana, by pouring a liquor on a fire kindled upon an altar. On the other side is a hunter holding a hound by the collar. 57. Drusus, a bust. He was the son of Tiberius and Vespania Agrippina : he was assassinated by his own wife Livilla. 58. Victory, a life size statue. She wears a tucked dress, loose on her shoulders, one of which is uncovered. Her mantle is gathered on her left arm ; her head is diademed ; her right hand is raised and holds a laurel crown ; while the other bears a palm. This statue has no wings, and this shows that it was made in the epoch when the Roman armies were already victorious every- where, so that Victory could no longer fly from them ; just as an Italian writer once said, about a statue si- milar to this, which a thunderbolt had deprived of its wings: Roma, regina delle Nazioni, il tuo name sara immortale ; la Vittoria nan pub fuggirti (!). The right arm, the left hand and the neck are modern. It was given as a present to Francis I of the Medicis by Card. Lezio. 59. Athlete. Life size. He is naked and standing. He has a vial in his arms, looking at it stedfastly. His right leg is leaning on the trunk of a palm-tree, from which some dates are hanging. - Both arms have been mended. 60. Caesar Britannicus, a bust. He was the son of Claudius and Messalina, and brother to Nero, who had him poisoned after having deprived him of his rights to the throne. (1)0 Rome queen of nations, thy name is immortal, and Victory can no longer fly from thee. 24 SCULPTURES Gl. Gains Caesar Caligula. The perfidy and cruelty of this emperor's mind are well expressed in this bust, which is so much more precious as the tribune Cassius Cherea who delivered Rome from this tyrant, ordered all his statues, busts and medals to be destroyed, in order to disperse any record of his disgraceful reign. 62. The Dioscures. Sarcophagus. It is related that Ida and Lynceus sons of Anphareus of Messenes were the lovers of Thebea and Ilaria daughters of Leucippus. Castor and Pollux sons of Jupiter (the Dioscures) also fell in love with them and ravished them ; whence the hatred among the pretenders. This is the subject of this sarcophagus. The two corners of its front side are decorated with two personifications of Victory. Between them the rape of Leucippus' daughters is represented as follows : Each one of the Dioscures bears his beloved on his shoulders ; they are both naked or simply clad in their damides. One of the girls, dressed in a tunic, presses her right hand on her ravisher, striving to escape from hiui, while a woman runs to help her. The other girl is grasping her mother Philodices' mantle trying to detain her who is flying away with her hus- band. All these people are pursued by Ida, Amphareus' eldest son, who is rushing after the rival of himself and brother ; but Lynceus prudently tries to stop him by opposing his shield to him. The left side of the sarcophagus bears the figure of a naked man with clamys, and a woman whose hand he holds. Behind this is an urn upon a pedestal. A curtain is spread behind the figures. On the other side is a man stand- ing, with his left hand upon an altar ; a woman stands by the opposite side of the altar, laying her right hand upon it. Behind her is an urn upon a pillar. - - This sarcophagus has been mended in differente parts. It was brought from Rome in 1788. 63. Valeria Messalina, a bust in alabaster with mar- ble head. This empress \vas the \vife of Claudius and is famous on account of her licentiousness and cruelty. Tacitus has described her life and tragical death. 64. Claudius. The dulness and poverty of soul of FIBST CORRIDOR 25 this emperor, which rendered him despicable to every body, and of which he was himself the victim, are well expressed in this bust. His reign lasted 13 years and 20 days. 65. Claudius Domitianus Nero, a bust in basalt. This tyrant reigned 13 years and 8 months. 66. Faun, a statue. He is standing and crowned with vine-leaves and ivy, and is looking at a bunch of grapes which he holds in his right hand. A little panther is at his feet, with one of its paws around the trunk of a vine. The right arm and the neck are modern. 67. Atlete, a statue larger than life. He holds a small lance high in his left hand, while he keeps a wand in the other, partly wrapped in a cloth. His right leg is leaning on the trunk of a palm-tree. - Both the arms and a part of the left leg are modern. 68. The Labours of Hercules, a sarcophagus on which eight different subjects are represented. The first is the slaughter of the Nemeian lion. Hercules is naked, crowned with vine -leaves, and drags the dead lion along on the ground. The second is the fight of the hero with the hydra of Lerna. He holds his club high in his right hand, and with the other he pi'esses one of the four serpents springing from the head of the hydra. The third is Hercules bearing the wild-boar of Erymanthus on his shoulders : under the head of the beast Eurystheus half hidden in the bronze Dalius is lying, with his hands raised. In the fourth composition the hero is naked, and grasps the horns of the Cerinean hind, pressing at the same time its back with his knee. In the following one he is bearded, and darts his arrows against the Stymphalides, one of whom has already fallen dead ; the other is wounded. The sixth group represents Hercules also naked and armed with his club, in the act of taking away the girdle from the waist of Hyppolita, the queen of the Amazones, who is lying down on her shield. Then he is seen again, clad in his lion skin, his right hand raised and his left grasping the club. Above his left shoulder a spring 26 SCULPTURES of water is falling from a rock. This is supposed to represent the cleansing of the Augean stables. The last group which is on the left extremity of the urn, represents Hercules vanquishing the Maratonean bull. The hero is nude and grasps the left horn and the right leg of the beast, while he keeps his left foot upon the head of a horse. Another horse of which the head and fore-legs alone are visible is lying a little aside. These two .animals signify Hercules' victory over Diomede's horses. This sarcophagus has been mended in several parts. 69. Poppea. She was Nero's wife or mistress ; the finest woman in her time, as may be seen from the delicate features of this bust. 70. Nero, a bust. Its modelling is remarkably good, as well as its expression of the perfidy and cruelty of this emperor who so soon forgot his own ntinam ne- scirem. His hair is divided into curls, after the fashion he had taken from Grece, as Suetonius relates. 71. Nero in his childhood. Its countenance is sweet and quite different from the aspect represented in the other bust. This is rightly considered one of the most precious in the collection. 72. Galba. This bust is a clever work, but rather defective as a representation of his moral character. This emperor reigned six months, and therefore his busts are rare. He was killed in a mutiny raised by his rival Otho's friend, and his head was cut from his body and sold to a freed slave (libertus] who bought it in order to insult it before the tomb of his master whom Gralba had caused to be executed. 73. Hercules labours. A sarcophagus similar to N 68. 74. Pomona. A nimble figure, the head of \vhich is crowned with fruits and ivy. A part of its gown is lifted by both hands, and full of grapes and different kind of fruits. The hands, feet and part of the gown are modern. 75. An Athlete. Similar to the N r 52, 59. The hands have been mended in several parts. FIRST CORRIDOR 27 76. Julia. Titus' daughter and wife of Flavius Sa- bimis. Dornitian, her uncle, having fallen in love of her, had her husband killed and repudiated his own wife, in order to marry her. The head alone. 77. Otho, a bust. He succeeded Galba on the throne of Rome, but Vitellius was almost at the same time elected by the legions he led in Germany, so that a civil war arose and the two competitors met with their armies in France and then in the valley of the P6 where forty thousand people died in one battle, to support the ambition of two men. The day after that awful havock Otho killed himself in order to stop the civil war, as te best historians affirm, so that his death was lamented by his subjects, and his name was honour- ed. He held his scepter not longer than three months, and died in 69 A. D. aged 37. He was quite bald and wore a small round wig, with short and crisped hair. - As to the artistic value of this bust, Winckelmann says it is one of the finest ever seen. 78. A sarcophagus decorated with various figures of Nereides, Tritons, Delphins, and winged cupids, carry- ing baskets full of fruit and flowers. The natural grain of the stone being bluish here and there seems to imi- tate the sea waves. 79. Julia, Titus' daughter. This bust is admirably well done and preserved. 80. Vitellius. This bust corresponds exactly to the description of this emperor's aspect left by Suetonius, and gives a perfect idea of his famous addiction to gluttony and every excess in banqueting. 81. Urania, or perhaps Geometry or Astronomy, after the modifications which it must have undergone in va- rious restorations. Its very clever and fine drapery renders this statue most remarkable. Its size is a little larger than life. The right arm and a half of the left one, as well as the feet and the hem of the garment are modern. 82. Ariadne, a statue larger than life. She is crowned with laurels and vine leaves, and holds a bunch of grapes 28 SCULPTUBES in her right hand. Her left foot rests upon a part of a tripod which stood once by her side. This statue is much similar to one in the Museum at Rome, which is now called a Ceres, since a bundle of ears has been put in her hand, in a recent restoration. The two arms and a part of the neck are modern. 83. Julia, Titus' daughter. The head alone. 84. Sarcophagus. Sea deities, two of which are sup- porting a shield which was probably destined to bear an inscription. 85. Vespasianus. The head is carved with admirable skill and its lineaments well represent the magnanimity of this emparor. His forehead is wrinkled, the eyes are rather hollow, but not stern looking, the nose is hooked, the face oval, and in short his physiognomy bears an expression of great dignity, in every part. His reign lasted ten years. 86. Domitia, wife of Lucius Elios Lamia, a Roman senator, and then of Domitianus. The dressing of her hair is that which they called galericula, on account of its resemblance to a helmet. This bust also is precious as a work of art. 87. Titus, son of Vespasianus. The majesty, beauty, greatness of mind and benevolent disposition which characterized this prince and caused him to be a last- ing source of happiness to the whole civilized world. are cleverly expressed on this precious piece of marble. Of his busts several copies have been repeated, but they are nevertheless rare, because of the short duration of his reign, which did not last longer than two years and two months. 88. Ganymedes. The size of the figure is as large as life, but the eagle with which it is grouped is rather gigantic. The work is fine but its artistic value is not easily perceived on account of many spots in the mar- ble. The head, and arms, and also a part of the eagle are modern. 89. Sarcophagus. The nine Muses with Apollo. It is much wasted by age. - - Clio, crowned with laurel FIRST COKEIDOB, 29 bears a volume and a trumpet; Erato, crowned vith flowers, the double pipe and a mask, Calliope, a vo- lume ; Urania a sphere ; Melpomene is to be recognised from the mask and club she holds, according to what Aristophanes says, that Tragedy was sacred to Hercules ; Apollo, almost naked, stands by her left side, with his tripod and snake ; then Euterpe comes and then Therp- sicore. The following one leaning at a column is very- likely Thalia. The last one is Polymnia. 90. A Vestal. The base bears the name of Lucilla. She is holding a cup in one of her hands, while the other is stretched towards the sacred fire placed by her right side. Her face has a pleasing expression of modesty and her figure is noble and beautiful. Her atti- tude is like that of the vestals seen on medals. Her hair is dressed under a veil, and this might put an end to the dispute held among the archaeologists, whether the Vestals used to let their hair grow again after having had it cut. The celebrated Lanzi supposes it to be a Plautiria. The state of preservation of this statue is remarkable. Its left hand alone and the fingers of the right have been restored. 91. Domitia; a bust not so fine as N. 86. 92. Dr initian. This bust does not represent that ex- pression of a strong mind and that beauty which is seen in some medals ; which may be caused by having tried to restore it after another bust of this emperor, not authentic. 93. Nerva. His nobility of mind, by which he was raised to the throne of Rome, is well shown in this bust. It is a little larger than life. 94. Domitia. A bust little larger than the other two of this empress: N. 8G and 91. 95. Sarcophagus, on which the Chase of Meleager is represented. This subject is repeated on several Etru- scan sarcophagi. It was probably chosen as an allusion to the extinction of the flame of life or to commemorate the exploits of a hero. Meleager was the son of Oeneus king of Calidonia and nephew of Elimus king of the 30 SCULPTUEES Tyrrenians. A monstruous boar which used to waste Anceus' vineyard was killed by him, with the help of Theseus, Jaso, Pirithous, Castor, Pollux and the nymph Athalanta. She wounded it and Meleager killed it by a sacond wound on its shoulder, and then gave its skin to Athalanta as a trophy. Pisippus and Theseus, bro- thers, to Althea and uncles to Meleager, indignant at seeing such an honour paid to a girl, robbed her of the skin, whereupon Meleager killed both, and married Athalanta, by whom he then had a son whose name was Parthenope. Altea became mad, when she knew of the death of her two brothers, of which she revenged herself on her own son, by throwing .on the fire the fatal brand on the perseveration of which Meleager's life depended. The hero felt his entrails burnt, as soon as the brand was on the fire, and expired when it was reduced to ashes. The basrelief on the left side of the sarcophagus represents a monument to Meleager. 96. Trajan. This bust is the finest of. the three of this emperor in this gallery. He was born at Italica in Spain and was the first foreigner raised to the throne in Rome. Under his empire which lasted nineteen years and six months many Spaniards settled in Rome, thus filling the void left by the dispersion of several Roman families under Nero and Vespasian. 97. The Muse Calliope. Several parts of this statue are modern, viz, half of the right arm, the left hand, and the feet with all the lowest part of the figure. 98. Trajan. A bust. Smaller than life. 99. Hercules. The pedestal is antique and the subject on it analogous to the exploits of this hero. This statue was made to stand isolated. It is one of the best copies of the famous Hercules by G-lyco (Ercole Farnese). The head is very expressive and the torso is fine and very well preserved. Pausania speaks of a statue similar to this, which existed in Attica. In a medal of Massi- mianus is also a figure of Hercules much resembling this. Both the arms are modern. This statue was sent from Rome to this gallery in 1788. FIRST CORRIDOR 31 100. Marciana, sister to Trajan. 101. Trajan, a colossal bust. 102. Marciana, another bust. 103. Plotina, the wife of Trajan, This empress was very modest and this perhaps the reason of her busts being very rare. This one is also a splendid work of art. 104. The Muse Polyhymnia, entirely wrapped in her mantle. The drapery is fine but not very carefully car- ved. The hand is new. 105. Sarcophagus. The case of Meleager, very si- milar to X. 95. 106. Mercury. A statue larger than life. His right leg is leaning on the broken trunk of a palm ; his right arm is raised with a purse in the hand; the other hand is modern. 107. Matidia, daughter of Marciana, niece of Trajan and grand mother of Adrian. This bust has not a great artistic value, and has been much restored. 108. Adrian. The head is fine; the hair is carefully dressed and the beard is long and thick, which was very uncommon in that time and is said to have been used by this emperor in order to hide some scar he had on his cheek. This bust is splendid and affords a good idea of the state of the Art under this emperor. 109. Adrian. Another bust representing this emperor much younger. 110. Sarcophagus, on which the triumph of Bacchus is represented. Some chained slaves precede Arianna's chariot which two tigers are drawing: while that of Bacchus is drawn by two centaurs, male and female. The figure standing by Bacchus is Acratos. A winged Victory precedes the chariot, and some cupids, fauns and menades follow it. 111. Elius Caesar; adopted by Adrian and destined to be his successor if he had survived him. He was 32 SCULPTURES handsome and inspired veneration by his noble aspect, notwithstanding his feeble health. This bust well re- presents the beauty of his features as well as the no- bleness of his mind. 112. Venus with a little Cupid bearing a reversed torch in his hand. The torches which are often seen in the hands of figures representing Venus or Cupid are a symbol of the passion which these two divinities kindle in the hearts of men. The arms and a part of the right leg of the goddess are modern. 113. Venus. This statue formerly represented a victo- rious Venus and held an apple in its right and, as it is seen from an engraving in the Museo fiorentino, 3 d table. Hercules Ferrata had it restored it in 1557, and the arms which are stucco were then made in the attitude of those of the Venus de Medici. It is a little larger than life. The head is antique, but it problably belonged to another statue. 114. Sabina, wife of Adrian, and daughter of Matidia. This bust is fine and very carefully executed. 115. Antoninus Pius; a splendid bust, quite like the heads in the different medals and old statues of this excellent prince, which are very numerous. His reign lasted 22 years and six months. 116. Faustina, the mother. A bust remarkable for its artistic value and perfect preservation. 117. Faustina. Another bust. 119. Apollo, with the serpent. A statue larger than life and very fine in its antique parts; but the attitude given to the right arm which is all new, is very diffe- rent from the original one, which certainly was the same that is seen in all the statues representing Apollo Lycius, and just as it is in that which was once at Versailles and is now in the Parisian Museum. The restored parts of this statue are : the head, the right arm, a half of the left one, and portions of the legs. It was taken into this gallery in 1794. FIBST COBBIDOR 33 120. Galerius, the son of Antoninus, in his childhood. He died about the age of 15. A bust. 121. Apollo, with a sea-bird at his feet; a statue larger than life. The head is old but does not belong to this statue. Both the arms, and the left foot are modern. 122. Annius Verus, the son of Marcus Aurelius. A child about seven years old, who died just at this age. Second Corridor. 123. Cupid. A statue larger than life, in a very queer attitude. Both the arms are modern. 124. Two Children wrestling, one of whom is lifting the other by the waist. The right hand of one of the two is modern. 125. Morpheus or Sleep ; a lying statue with wings at its head and feet, and two poppies in its left hand. A lizard is at its feet, according to ancient belief, that such little reptiles used to watch by persons asleep, and to whake one. whenever a venemous animal approached. The right foot and a part of the left one are modern. 126. A child dressed in a short tunic, in a fold of which he has some walnuts. He represents very likely one of those who used to scatter walnuts at weddings. The lowest parts of the legs are modern. 127. A child winged and lying on a sleeping lion. It is probably a symbol of Love. The right knee and foot are modern. 128. Bacchante, dancing. A leopard is at her feet : her dress which is light and waving in the wind makes the whole figure lively and pleasing. The half of both the arms is new. 36. A Roman matron, similar to N. 35. The head is probably modern. 131. Faustina, the young wife of Marcus Aurelius. She was deified, and took the title of Mater Ca- strorum. 132. Annius Verus. Much finer than the other bust 3* 34 SCULPTURES N. 122. Without any fear of exaggeration this bust and that of the little Nero may be considered the finest busts of children ever seen. 133. Minerva, a statue in the antique greek style, but much restored. The arms are modern, the head is antique, but it probably belonged to another statue. 3. Young Athlete, or Doryphorus of Polycletus. 135. Faustina. Another bust of the same. 136. Marcus Aurelius Antoninus, the philosopher. There are four busts of this personage in different ages. This one seems to belong to the time in which he was adopted by Antoninus; that is to say between 15 and 20. His reign lasted 19 years and 10 months. 137. An altar. It is round and its top is hollow, with some holes around its edge. It was formerly believed that the bas-relief which adorns it represented Alcestes saving her husband Admetus from death, by sacrificing herself for his sake, since Apollo had obtained from the Fates that Admetus' life should be prolonged, provided a voluntary victim were sacrificed for him. His wife Alcestes was the victim, but Hercules took her back from Hades, to restore her to her husband. The veiled figure was supposed to represent the revived Al- cestes. It is now thought that this figure may represent Iphigenia led to the place where she is to be sacrified. Agamemnon is veiled and one of the priests is cutting the hair of the intended victim. The following figure represents the people as it is shown by the word laos, written behind it. The work is of an antique Greek style, and a Greek inscription which is under the base of this monument, says that it was made by Cleomenes. 138. A nude boy, called il Giovine detta spina. This charming figure is often found in bronze or on engraved stones. He has been pricked by a thorn in one of his feet and looks at it with great attention. It is sup- posed to represent a conqueror in the Olympic games. The hands, the left foot, and a part of the right one are modern. 139. Marcus Aurelius. This bust was probably made about the end of the reign of this emperor. It is very SECOND COKHIDOE 35 expressive and the beard and hair, rather rough, are very well executed. 140. Marcus Aurelius. Another bust with a shorter beard. It is considered one of the finest in this col- lection. 320. The Genius of death, or Sleep. The restorer has misunderstood the subject, reducing this statue to a Cupid, by putting a bow in its hand, instead of the inverted torch. 141. Pedestal of a candelabrum, which was dedicat- ed to Mars, as is shown by the bas-relief which adorns it representing six genii carrying the arms of the god. Upon this pedestal is placed a little triangular altar adorned with three figures of women, in very shallow relief. The upper part of this is restored. - - It was brought from Rome in 1788. In the Louvre Museum there is an antique pedestal like this, but a little smaller. 150. A nude boy, standing, supposed to represent Xero in his childhood. It is remarkable for its artistic value and perfect preservation. 142. Minerva or Pallas Athene. A statue in a fine Greek style. The head which is not one piece with the torso, is antique however, but probably not its own. The right arm and a part of the neck are modern. 129. Sarcophagus. The fall of Phaeton. The figure of Phaeton falling headlong into the Eridanus is in the middle of the bas-relief, with the Heliades, his sisters, changed into poplars. On the back of this sarcophagus in a very shallow bas-relief a race in a circus is represented, particularly remarkable, as it bears inscriptions giving the names of the chariots which take part in the race (Libya, Jubilatore, Dicatesyne, Eiigrammo) as well as those of the drivers written by the heads of each: (Liber, Po- lyphemus, Trofimiori). The name of the fourth driver is wanting, but some interpreters have supposed it was Entyones. 130. A colossal head, placed on this sarcophagus. A fragment of a figure representing a river. 36 SCULPTURES 143. Lucius Verus. He shared the supreme power with his brother Marcus Aurelius in the throne of Rome. Capitolinus says he was as immoderate and debauched as Caligula, Nero and Vitellius. He reigned nine years with his brother. 144. Lucius Verus. Another bust. 149. Young Bacchus, sitting by a vine and plucking off a bunch of grapes, while he is holding a cup in his left hand. -- The arms and a part of the left leg are modern. 145. Venus Anadyomene (Venus' birth from the sea). The head, the arms and the left leg are modern. A similar statue is at Rome, and one in the Museum at Paris ; both equally antique. 146. A Nymph extracting a thorn from her foot. The head the right hand and the feet are modern. The original part of the statue is a very good specimen of antique Greek art. 147. Commodus, son of Marcus Aurelius and Fau- stina. His weakness of mind which made him so un- worthy of sitting on the throne, is well expressed in his features. His busts are rare, as the Senate ordered them all to be destroyed, in order to wipe out even the memory of that tyrant. He reigned 12 years and nine months. 148. Marcus Aurelius. The fourth bust of this em- peror. 134. Venus, in the act of girding on Mars' sword. The head, the feet and the vase covered by a cloth are modern. 151. Lucilla, daughter of Marcus Aurelius and Fau- stina, whom she resembled in her luxurious life. 152. Lucius Verus. The third bust of this emperor. 35. A Roman matron recumbent on a seat is leaning on her left elbow. She is supposed to represent Agrip- pina, the mother of Nero, from her likeness to the portrait of that empress, which is kept in the Farnesian gardens (Orti Farnesiani). This statue was bequeathed to the Granduke Gio. Gastone by signor Andreini. 37 Third Corridor. 153. Crisp ina, wife of Commodus. This bust re- presents the empress in her most flourishing age, not long after her marriage. 154. Commodus. A second bust of this emperor. 155. Marsyas. A nude statue larger than life. It is hung on the trunk of the tree. It is believed to have been restored by Donatello. The half of both arms are modern. A statue like this is in the Louvre Museum. 156. Marsyas. A statue similar to the preceding one, and restored by Verrocchio. The head, the arms and a part of the shoulders are restaurations. The original parts are in a kind of marble, the colour of which imitates that of the flesh. 157. Pertinax. A long bearded venerable old man, with rough hair, broad shoulders, and majestic look. He reigned not longer than three months. 158. Manila Scantilla, the wife of Didius Julianus. 159. Didius Julianus. This bust represents him just as the best historians describe him. He was dissolute even in his old age: he became emperor simply by buying that dignity, which he soon lost with his life. 160. Didia Clara, the only daughter of Didius Julia- nus and Manlia Scantilla. 161. Pescennius the Negro. He competed for the imperial dignity with Septimius Severus, who soon con- quered him, near Antiochia. It is doubtful whether this bust is antique. 162. Nereid on a sea horse. This group is important on account of the subject which is very rarely treated. The feet of the nymph and the two legs of the horse are modern. 163. Septimius Severus ; a lively and fine head, which is a proof of the wonderful skill of some artists in that time. He reigned 17 years and 8 months. 164. Julia Domna ; the wife of Septimius and mother 38 SCULPTURES of Geta and Caracalla. She is represented in this bust, with all that beauty, grace and majesty which rendered her so famous in Roma and Syria. 165. Septimius Severus. Another bust. 166. Julia Domna. Another bust of the same empress, in the age in which she had lost something of her pe- culiar beauty, but not her noble and dignified look. 167. Albinus, who competed with Severus for the throne of Rome, and kept the title of Augustus for several years. This bust is in alabaster, and this pecu- liarity makes it particularly remarkable. 168. Antony Caracalla. This surname was given to him on account of his being used to wear a gallic dress just called Caracalla. This bust represents this emperor at the time when he had lost that courteous countenance and those graceful features, which had formerly rendered him so dear to the people and Senate. It is a fine \vork of art, and so much more remarkable, as it is rare to find one so good in an epoch which was called the last breath of the Roman Art, as it just preceded the decay which it had to suffer under the reign of Adrian. Cara- calla reigned six years and two months. 169. Discobolus. A splendid specimen of the grand style of the antique Greek art. It was formerly believed to be one of Niobe's sons, but Visconti thinks it is an antique copy of the Discobolus from Miro. .The hands, a part of the right leg and the trunk on which the other leg is leaning, are new. 170. Hygea, the goddess of health and companion to Esculapius. She is feeding a serpent. Her drapery and the dressing of her hair are to be remarked. - - The neck with a part of the head, a half of the left arm and a part of the right one are modern. 171. Plautilla ; the wife of Caracalla : in her prime. A bust. 172. A Cippus, with an inscription. 173. Geta, the brother of Caracalla, who stabbed him, in the arms of their own mother Julia Domna. 174. Plautilla ; another bust. THIED COBBIDOE 39 175. Geta ; another bust. 176. A Gippus, with an inscription. 177. Apollo. He is resting and has one of his feet on a tortoise. The legs and the left arm are modern, and the head also is probably not antique. 178. Jupiter, with a thunderbolt in his right hand, as a sign of his power over men and gods. The figure is partly clad in a mantle, which gives it a character of great majesty. The right arm and the feet are modern. 179. Another Cippus, with inscription. 180. Geta. Another bust, representing him in his youth. 181. Macrinus, who conspired against Caracalla and was his successor. He reigned during one year and two months, with his son Diadumene. 182. Macrinus, another bust in which the beard is a little different from that of the other, just as it is in other portraits of this emperor as seen in some medals. 183. Diadumene, in his childhood. 184. A Cippus, with an inscription. 185. A Cippus, with masks carved on two opposite sides. Such cippi were used as a sign in theatrical performances. 186. A wounded soldier, leaning on his left knee, while the right thigh is pierced by an arrow, a part of which is thrust in the wound. It represents a foreign soldier, as there is nothing Roman in the dress. The arms, a part of the neck, the shield and the feet are modern. 187. Juno : remarkable for a peculiar expression of majesty. The arms and feet are modern. 188. Macrinus. Another bust. 189. Cippus, with an inscription. 190. Marcus Aurelius Antoninus Heliogabalus. He 40 SCULPTURES was a very handsome youth but so dissolute and cruel that he was considered the most disgraceful of the worst tyrants who ever sat on the throne of Rome. He was only 14 years old when he ascended the throne, and was killed after three years and nine months of reign, in 222 A. D. 191. Diadumene, in his childhood. A bust. 192. Alexander Severus, the son of Julia Mammea, by whose counsels he demeaned himself so wisely on the throne, and with whom he was assassinated by his own soldiers in Germany. This bust well represents his majestic look and natural kindness of disposition. He is clad in a scaly cuirass. 193. A Cippus, with an inscription. 194. Apollo. He is nude and sitting, and holds a lyre, which is very remarkable on account of its having five cords. The neck, arms and right foot as well as the serpent are modern. 195. Leda. This statue has great artistic value, but unluckily some stains in the marble hinder one from admiring all the beauty of the work. The face is very expressive and the forms of the breast are beautiful : the drapery is of the best Greek style. The right arm and the feet are modern. It was given to Francis I de' Medici from Cardinal Lezio. 196. Julia Aquilea Severa, a Vestal whom Helioga- balus married declaring it right that the wife of a priest of the Sun should be a Vestal. This bust represents her before she had left her primitive state. 197. A Cippus, with an inscription. 198. Alexander Severus. This bust is superior to the other (N. 192) in artistic value. His dress is that which was called latidavium. The busts of this emperor are rare: even the Museum in Rome had but one, which had been dug out at Ortricoli. 199. Julia Mesa ; the sister of Julia Septimius Se- verus' wife, who contributed to -raise her grandchild THIED COEEIDOR 41 Heliogabalus to the throne by means of much craftiness. Tliis bust represents her in rather old age. 200. A Cippus, with an inscription. 201. Maximinus. He was a barbarian by birth and very daring and uncommonly strong. He was eight feet and two inches tall. He reigned two years, with his son. 202. Apollo. A standing statue. The arms, the lower part of the legs, the lyre and the drapery are modern. The few antique parts are very beautiful. 203. A Cippus, with inscription. 204. Esculapius. A statue similar to that which is in the Public Gallery in Rome (See Museo Chiaramonti, 2d vol., tab. IX, page 25 1. The sandals are to be remarked on account of their peculiar fashion and good state of preservation. The right arm with the wand and serpent are modern. 205. Olimpus. A sitting statue similar to that which is in the group of Pan with Olympus (N. 51). The pipes of his instrument are sixteen in number. The left arm, the right hand and the point of the right foot are modern. 206. A Cippus, with inscription. 207. The forepart of a pedestal, with a Greek inscription. 208. Bacchus, in a group with Ampelus or Acratos. He holds a cup with his right hand and rests the other on the head of the little Ampelus, who is sitting on an urn, embracing Bacchus' right leg. On the ground are some masks of satyrs and bunches of grapes. The torso and part of the legs of the principal figure are the only antique parts of this group : all the rest is modern but very cleverly made. 209. Esculapius. This statue has a remarkable expres- sion of a noble character. His left arm is leaning on a knotty stick, about which a snake is twined. This statue was probably once grouped with another, and 42 SCULPTURES very likely with Hygea ; as the trace of a hand, which seems to belong to the figure of a woman is visible on the left shoulder. The modern parts of this statue are the right arm, the left hand, the feet and the stick with the snake. 210. Maximus ; the son of Maximinus, who reigned during two years with his father, and was killed at the siege of Aquilea (238 A. D.). 211. Maximus. Another bust of the same. 212. Marcus Aurelius: a statue. The figure is nude and represents the emperor in his youth, with a globe in his hand. It was perhaps made for a temple and seems to belong to the best epoch of antique Roman art. The right arm, the hand with the globe, the legs and part of the drapery are modern. 213. Gordianus the African or the Father. No other bust of this emperor is known. He was raised to the throne in spite of himself, and did not reign longer than ten months. 214. A Cip pus, with an inscription. 215. Julia Mammea ; the mother of Alexander Se- verus : a beautiful, elegant, and courageous princess. This bust has little value as a work of art. 216. A Cippus, with an inscription. 217. Salominus : a child ; the eldest son of Gallienus. He is crowned with laurel. He is named Valerianus in the medals. The artistic value of this work is superior to all which the best artists produced in Rome at that time. 218. A Cippus, with an inscription. 219. Pupienus. He was elected to the throne on ac- count of his virtues, but he was assassinated by the Praetorian guards. 220. A Gippus, with an* inscription. 221. A Cippus, with an inscription. 222. Pupienus: another bust. THIRD CORRIDOR 43 223. Leda. A statue smaller than life. The head, the arms, the swan and part of the drapery are modern. 224. Apollo : a statue, similar to that which is in the first corridor (N. 119). The figure is nude, a sea bird is at its feet. The half of both arm, the feet and a part of the drapery are modern. 225. Gordianus Pius ; the third emperor who had this name. He was elected by the prsetorian legionaries and was killed by the order of Philippus at Zaite on the Euphrates. His reign lasted six years. 226. Tranquilla ; the daughter of Misitheus and wife of Gordianus : a very goodnatured woman. Her busts are rare. 227. A Gippus, with an inscription. 228. Gallienus, this bust is much better executed than might be expected in an epoch in which art had already begun to decay, as it then did still more under Clorius and Galerius. He reigned seven years with his father Valerianus, during which had rebelled against his authority. 229. Melpomene or Clio : a statue by Atticianus, a Greek sculptor not much renowned, who lived in the third or fourth century. His name is written on the base. The head, left arm, right hand and a part of the lyre are modern. 230. An ancient breast plate, in a Roman fashion, in marble. It is a military trophy, and is certainly Ro- man, as Greeks did not allow such monuments of indi- vidual glory to be made in any solid materials like marble or stone, so that no Greek trophy is ever to be found. It was brought frome Rome in 1788. 231. Trajan Decius, who died in the year 249 of the present era. His busts are very rare. His features re- veal much of that bravery and kindness, which rend- ered him dear to his subjects and soldiers. He reigned two years with his son Etruscus or Herennius. 232. Salonina, the wife of Gallienus. She honoured the throne by the best virtues proper to her sex. 44 SCULPTURES 233. Probus: famous on account of his uprightness and his victories. He would perhaps have restored the empire, which was then falling into ruin, had he not been killed a military sedition. 234. Gallienus: another bust. 235. Carino, the son of Caro and Magna Urbica. He became execrable to everybody in consequence of his tyranny over the Gauls. He was killed by a tribune in the second year of his reign. 236. An altar dedicated to the Lares of Augustus. On its front there are three figures, and a chicken. The figure in the middle bears a Lituus (the wand of au- gurs) in its right hand; the one at its left side holds a plate (patera) in one hand, and a vase with some fruits in the other. On the right side of the altar are two crowned figures, one of which carries a drinking horn (potorium cornu) and a patera, and the other a drinking horn also, and a pail. On the opposite side is a winged Victory standing by a trophy; on the back of the altar is a wreath of oak between two olive bran- ches, a perfericulus (a kind of vase to pour libations on pateras) and a patera. 237. Quintillius ; the brother of Claud II. A bust. He possessed many of the best qualities of an onest and worthy man, but wery few of those which made one worthy of sitting on a throne and ruling others. His reign lasted but twenty days. 241. Night, a statue standing, larger than life, with mantle in black basalte. Come to the Gallery in 1874 from Poggio Imperiale Villa. 238. Sleep. A winged nude boy in black marble. He holds two poppies and the horn of dreams. It is pla- ced on a funeral cippus bearing an inscription which dedicates it to G. Telegennus. On the back of the cip- pus the door of Hades is figured, above which is a lituus, a perfericulus and a patera. 239. Philip the Elder ; the son of a chief of robbers, who usurped the throne and reigned five years with his son Philip the younger. This bust is rare as there THIRD CORRIDOR 45 are very few of this emperor and is also interesting as a specimen of what the art produced in an epoch in which it had already degenerated. Its artistic value is however small. 234 bis . Charity, a white marble statue. 235 bis . Vestale, a statue as above. All two come from Poggio Imperiale Villa in 1874. 240. Constantine the Great: a bust. A work of lit- tle value in itself, but good in comparison of the ge- nerality of artistic productions in its time. Its style resembles that of some medals. Busts of this emperor are very rare. The Museo Capitolino has none in its collection, as it also wants others which are to be found in this. 285. Laocoon. This magnificent group, work of Bac- cio Bandinelli a Florentine sculptor of the XVII Cen- tury, is copied from, the Greek original, masterpiece of Polidorus Ottenodorus and Agesandrus. It represents Laocoon's punishment, being it opposed to the gods' will to introduce the famous wood horse in the Troyan city. The Hall of NioTbe. Peter Leopold had this hall constructed in 1779. in order to collect here the splendid antique statues of Niobe and the Niobidi, which some years before (1772), he had ordered to be transported to Florence from the garden of the Medici Villa at Rome where they had been not very wisely placed. The whole group is believed to have been composed of sixteen statues, the pedagogue included, but the number of Niobe's children is doubtful. Homer speak of twelve, but according to other poets or historians they should, be 3. 5, 10, 14 or even 20. In our colle- ction there are fourteen, but two of them are so similar that they seem to represent the same personage, and two others probably do not belong to the group. Xiobe. the wife of Aniphion and daughter of Tan- talus, according to Ovid and Apollodorus, used to boast 46 SCULPTURES of the number and beauty of her children and dispised her sister Latona who had only two, Apollo and Diana. Latona felt deeply offended and revenged herself by in- stigating her two children against the Niobidi. Apollo killed the sons and Diana the daughters ; and the unhappy Niobe (as Homer relates) was then petrified by the cruel sorrow she experienced. Ovid supposes the massacre to have happened in the hippodrome by the walls of Athens, and according to other poets Niobe's metamorphosis took place on the Sipyle, a mountain in Lybia, while her children were killed in Thebes. These splendid statues were dug out in Rome close to the gate of S. Paolo in 1583. Cardinal Ferdinand de' Medici purchased them for the sum of 7938 francs, and placed this famous group in his palace in Rome (Villa Medici now Accademia di Francia). Some of the heads of these statues have often been cast in plaster and carefully copied and studied, and casts of the whole family were requested by several Academie in Europe. Winckelmann, in describing these statues says that Niobe's daughters were struck by Diana's arrows, and their attitude, in fact, represents that anxiety and bewilderment which is caused by the fear of a death, which is imminent and inevitable. The prelate Fabbroni has written and published a mono- graph on this group, and had good drawings of these statues engraved and published in his book. Montfau- con has also published in his first volume (p. 107) an engraving by Perrier, representing this group as it was set in the Villa Medici at Rome, where the children for- med a circle of which the mother stood in the middle. It is also to be remarked that in the Museum at Ro- me there are two statues, which certainly belonged to another group similar to this. One of these to which the head and arms are wanting is exactly like the Nio- bide N. 246 of our groiip. It was once in the Quirinal palace, among the monuments collected by cardinal d'Este, in the Villa Adriana. A head of Niobe is in England, another head of one of the daughters is in the gallery at Munich, which is a proof of the old celebrity of these statues. THE HALL OF NIOBE 47 As to the way in which they were grouped many different opinions have been given, but nothing is known with certainty. The most reliable is that of Mr. Charles Robert Cockerell, a very clever English architect, who spent a long time in Greece to study the remains of the antique monuments of that classic country, which was formerly the cradle of the arts and sciences. According to his opinion these statues were destined to decorate the front of a temple. Returning from Greece in 1816 and being in Florence, he studied all these statues with great care, and made the drawing that is now exhibited in this hall, and in which he only put the fourteen figu- res of our collection. Their different sizes and the progressive diminution of their height, as well as their various attitudes and the harmony, in short, resulting to the whole group from placing them as Mr. Cockerell did in his drawing, all seems to be a proof of what the clever English artist has conjectured. This opinion has also a good support in some words of Pliny about a group of Niobe's family, which existed at Rome in his time, taken from a temple of Apollo Sosienus, and which was a work of Phidias and Praxiteles. The Arduino and Monsignor Fabbroni, then quote an antique Greek epigram which attributes this group to Praxiteles. These statues in fact, since their discovery, were always reputed to be monuments of the greatest impor- tance, particularly on account of their extraordinaiy value as works of art, and if they are not all equally excellent there are few of them which might not be considered worthy of being attributed to the most cele- brated artists of Greece. The learned Royal Antiquary Cav. Zannoni, in his praiseworthy work, edited in 1819 Galleria di Fi- renze illustrata, speaks of these statues with much erudition, and what he says is perhaps all that it was ever possible to discover on this subject. 241. Niobe. A colossal statue representing Niobe in the act of praying the gods that her youngest daughter who has found refuge in her bosom, may be saved. She 48 SCULPTURES is clothed in a long thin robe, and the daughter is dressed with that kind of garment which the Greeks used to call XITY- The right hand of the mother and the left foot of the girl are modern. 242. A young woman. The original place of this sta- tue was perhaps by that of the dying brother (N. 244) as its eyes are just cast down with an expression of deep compassion and noble sorrow. The arms, a port of the dress and mantle, and the right foot are modern. 243. A young woman. The artistic value of this sta- tue is inferior to that of all the rest in this group. The head is perhaps not original or it has at least been spoiled in some attempts at restoring it. The hands, the feet and a part of the drapery are modern. 244. The dying son. He is entirely nude and lying on his mantle. The attitude is noble and expressive; the mouth is half open, the breast swelling and the terrible aspect of approaching death is manifest in every part of the body. The right arm and foot are modern. 245. The wounded son. Half nude and kneeling, the left hand pressing the wounded side. It is doubtful whether this statue belongs to the Niobe family : it was once considered to be a Narcissus. The left hand and foot are modern. 246. A young Niobide. A girl in the act of flying away. Her beautiful head expresses amazement and sorrow. She tries to defend herself by raising and spreading the edge of her dress. The left hand and foot are modern. 247. The pedagogue. A bearded old man clad in that military costume which was then called paludamentum. He seems to be in the act of running, to the Hippo- drome to defend his pupils. Some archaeologists have supposed him to be Amphion their father : it is Winkel- mann who thought this statue to represent the peda- gogue, or tutor of the young Niobidi. The arms are modern, and very likely the head also. In the Lou- vre Museum there is a statue like this grouped with one like that of the youngest Niobide (N. 256). THE HALL OF XIOBE 49 248. A young Niobide. A standing statue, of a youth, half nude, in an attitude of terror. He is lifting his mantle or clamis so. as to make a shelter of it for his head, while he is flying from the danger by which he is threatened. This statue is the best in the group : the expression of the head is marvellous; the forms of the whole body are beautiful and noble ; the foot which is trampling upon the ground is wonderfully modelled. A half of the right and the whole of the left arm and a half of the right leg are modern. 249. A young daughter. A work of not great artistic value. The neck and arms are modern. 250. A young Niobide. Half nude, in the act of lift- ing his damys as a shelter in his flight. The move- ment of a flying person and the expression of fright are remarkable in this figure. The arms, the right leg and a part of the mantle are modern. 251. A young woman. This statue is thought not to belong to this group, but to represent a Psyche, as it is just similar to one of this subject, which is in the M"*<-o Capitolino. The wings have probably been cut off. The arms, and several parts of the drapery are modern. 252. A young Niobide. A nude statue, similar in its movement to N. 255. A piece of marble which covers the left leg seems to. indicate that this statue is made to be looked at from the opposite side. The right arm is modern : the neck and some other parts are restored. 253. A young Niobide : quite nude. There is a wound in the side on which the right hand rests. The. head is turned upward with an expression of pain and resent- ment. The right leg is shrinking in the contraction of the muscles caused by the smarting of the wound. This figure is one of the finest in the group and is also very well preserved, as the point of the nose is the only part restored. 254. A young Niobide, Similar to N. 253, or rather 50 SCULPTURES a copy of it, with a slight modification in its move- ment, and less skill in the modelling of some details. 255. A young Niobide. Similar N. 252. The right hand, the nose and the mouth are modern. 256. The youngest of Niobe's sons. In the act of flying, and turning his head back with an expression of pain and dismay. The body is partly covered by a damys, waving in the wind. The right arm and left hand are modern. 257. One of Niobe's daughters. The expression of the head, the style of the drapery and other characte- ristics of the figure are so similar to those of the group of the mother with the youngest daughter, which stands next to it that one might easily attribute it to the same author. The arms are modern. The following busts complete the decoration of this hall. 258. A bust of a man. The head is very beautiful and particularly remarkable for the peculiar shape of the skull. It was once believed to be a portrait of Fabius Maximus. 259. Jupiter, a colossal bust. Majesty, power and benevolence are expressed at the same time in the fea- tures of this splendid head. In the Museo Pio Cle- mentina there is a bust similar to this. 260. Neptune. A colossal head. 261. Pompey. A modern bust with the head in por- phyry; admirable considering the difficulty of carving this kind of granite. Hall of Ins crip ti on s and. Sculptures. The Greek and Latin inscriptions collected in Flo- rence when Mr. Gori transcribed them in his book, are now almost doubled and have been divided by Mr. Lanzi HALL OP INSCRIPTIONS 51 into classes, following the example of the collections existing in Rome and Verona. The 1 st class contains the inscriptions dedicated to the Gods and their Ministers: the 2' 1 to the Csesars; . th > to the Consuls and Magistrates of Rome ; the 5 th to Public Shows and Amusements; the 6 th to Warriors; the 7 th to the Manes of the Dead; the 8 th to Marriages; the 9 th to Freedmen; the 10 th to the Tombs of the Christians ; the 11 th Epigraphs; the 12 th different inscriptions. Two more classes of Latin and Greek inscriptions on various subjects have been added later, which are not numbered. 262. Bacchus and Ampelos. This group is larger than life and is a specimen of the best antique Greek style. Bacchus is gently leaning on Ampelos' left shoulder, while the young Faun, with a malicious smile, shows him a goblet, which he holds in his right hand. The hooked stick and the flageolet are hanging from the trunk of a tree ; the flageolet has ten pipes, which num- ber is uncommon, but may be the fault of the sculptor. A similar group in the Museum at Rome differs only in one particular from this, which consists in Bacchus being bare-footed, while this one wears hunting sandals. The head of the god has a remarkable expression of nobility and is wonderfully executed. The had is in one piece with the rest of the statue and very well preserved, and has not been reset as was once erro- neously asserted. It was dug out at Rome by the Porta Maggiore, and bought by Ferdinand II of the Medici. This group is placed on an antique Egyptian monu- ment representing a Pompa Isiaca (Pomp of Isis). It is a round altar of granite adorned with a bas-relief. Lanzi thinks it belongs to an epoch proceeding the century of Adrian. An engraving representing this 52 SCULPTUBES altar is published in Father Kircker's Edipo Egiziano, v. 3, p. 426, and also by Montfaucon: v. 4, table 286; and Mr. Zannoni has given a splendid description of it, with five drawings in his Galleria di Firenze. 263. Mercury. Life size. A splendid antique statue, in a state of perfect preservation. It is perhaps the pa- cific Mercury, as it is often represented in some an- tique medals. Many copies of this statue ai - e to be found in various museums. The half of both its arms is modern. 264. A Priestess. As large as life and particularly remarkable for its fine drapery, which gives a noble aspect to the whole figure. The head and left hand are modern. This statue is placed on a Cippus, bearing an inscrip- tion: P. Ferrarius, Hermes; which was found in the environs of Pisa. There are also figures of various toi- lette utensils, and the measure of the Eoman foot ; the longest ever known, corresponding to 1881 ! /i5 f the Parisien foot (ancient measure). 265. Venus genitrix. A statue in the best Greek style with noble and grand proportions. Her body is almost entirely clad in a very light garment, which adorns her beautiful form without hiding it. The right arm, and the left hand are modern. The tibia in the restored hand has been added by the restorer, who probably mistook the subject of the statue. 266. Venus Urania. One of the finest statues in this gallery. She is represented in the act of dressing a lock of her hair with the right hand, while the left is holding a cloth which covers her from the waist down to the feet. Her head is crowned by a diadem coloured red and gold, on which hollow spaces are visible, a proof of its having been formerly enriched with precious stones. Both the arms are modern. It was discovered at Bologna, by the Granduke Ferdinand II in 1657. The base of this statue is a splendid cippus of the best Greek style, adorned with bas-reliefs representing HALL OF INSCRIPTIONS 53 three bacchantes and Agave bearing the head of Pen- theus. 267. Carneades. A bust in good style and perfect state of preservation. 268. Ovid. A bust, much restored; and its authenti- city is doubtful. 269. A horned and bearded head, placed on a cippus dedicated to Hateria Superlja when one year, six months and 25 days old; who is represented upon it in bas- relief, with a dove held in her left hand and another at her feet. A dog is also standing near her to which she presents a bunch of grapes. Two genii hover above the scene with garlands in their hands. 270. Head supposed to be the portrait of Marius. 271. A bearded head, adorned with a garland. . . . Homer, in black stone (Lapis suillius). J'.'2. Silenus i smaller than life), drunk and lying on the ground, with his eyes half shut as if unable to keep them open. One of his hands is resting on some bunches of grapes, and the other is trying to raise a goblet to his lips. His feet have the true soccos, which were used by the ancient comedians. This statue is placed on a sarcophagus on which are carved some figures of boxing genii. 273. Unknown head, of mediocre artistic value. 274. Scipio. This bust is a clever work and very rare r as few portraits of this personage have been preserved to the present time. 275. A head of an old man, in black stone (Lapis xuillius). It was once supposed to be a portrait of Euri- pides. Underneath is a sepulchral cippus dedicated to Julius Theopompus. as appears from a Greek inscription, which is under a bas-relief representing Cupid and Psyche. 276. Cippus, upon which is placed a beautiful head of a goat, in a very rare black stone, stained with white spots. It was brought from Rome, in 1788. 54 SCULPTURES 277. Sappho. A bust. 278. Alcibiades. A bust. 279. Sophocles, the Greek tragic poet. A bust. 280. Aristophanes. A bust, with a Greek inscription. 282. A large bas-relief, fastened on the wall, suppos- ed to represent the emperor Gallienus going to the chase. He carries a long spear (venabuluni) ad is fol- lowed by his horse led by a soldier. The work is rough, and seems to have been made to -decorate a frieze. Around ar also fixed on the wall several beautiful portraits, among which, worthy of particular remark are those of Pompey, Seneca, Demostenes, Homer and Plato. The last one (a dirnin. figure) is the most pre- cious, and very rare, as it bears the name inscribed in Greek. It was sent from Greece to Lorenzo il Magnifico by Jerome Rossi of Pistoia. 285. Bacchante; a bust. The head alone, which is in basalt, is antique. The rest is in oriental alabaster and various kinds of coloured marble. It is placed on the fragment of a column, which bears an inscription. 286. The head of an old man. 287. Solon; a bust, bearing an antique inscription, which makes it very precious, by affording a sure proof of its authenticity. 288. An unknown man ; a bust. The head and neck are in basalt, the tunic is in white marble, and the mantle in gray marble. 281. Nero. A small statue, carved in a kind of dark basalt. The head is modern. 283. A small statue, in white marble. The figure is standing, the elbow leaning on a kind of column. Be- neath is a sarcophagus with genii who bear the em- blems of Mars. 289. A figure seated, in a consular dress. -- The head is modern. HALL OF INSCRIPTION > OD 334. A tired traveller ; a very expressive figure in alto-rilievo. in perfect state of preservation. 293. Head of an old man, in perfect preservation. 294. Socrates. A skifully worked head ; but the nose has been restored. 2 1 .'."). A Philosopher. 296. Anacreon; a bust. 284. Eon, the Persian Divinity ; a strong and mons- truous figure, with snakes twined upon it. 298. Erma, with the head of an old man, worked with skill. 299. Mark Anthony; a colossal bust, not very well preserved but rare. 300. Demosthenes; the head alone: very expressive. 301. Aratus, a bust. 302. Cicero, a bust larger than life. The head alone is ancient and wonderfully well preserved, and certainly belongs to the best epoch of Roman art. All the rest is a restoration. This bust was purchased by Fer- dinand II of the Medicis. from the Ludovisi family in 1669. 303. An urn for the ashes of the dead; in marble, adorned with beautiful carvings, and bearing a Greek inscription, in which the name of Agaton is read. 304. A Philosopher. 305. Hyppocrates, a bust. The face is remarkably well worked and expressive. There are fourteen other busts placed above in this room, but most of them are unknown. Around the hall are also some cinerarian urns, and under them there are six sarcophagi. 56 SCULPTURES Cabinet of the Hermaphrodite. 306. Hermaphrodite, lying upon a lion's skin; a splendid statue similar to one in the Paris Museum, belonging to the Borghesi collection. The lower part of this statue has been so cleverly restored that it per- fectly agrees with the upper portion which is antique and is considered a master piece of Greek sculpture. The part restored is also in parian marble. - - It was purchased by the Grand Duke Ferdinand II of the Medicis from the Ludovisi family, in 1669. 307. Fragment of a torso, a splendid piece of work, so much more admirable as it is in basalt, which is very hard and not easily carved. 319. A Philosopher. 308. Ganimede. The old fragment of this statue, which Stephen Colonna of the princes of Palestrina pre- sented to Cosmus I was so much admired by Benvenuto Cellini, that he undertook to restore it. The head, both the arms and feet and the eagle are his work, in which he did not at all endeavour to imitate the antique, but only pleased himself with the application of his own talent and skill. The head is particularly remarkable for the same fineness of execution, which make Cellini's works in metal so admirable. 311. Pan and an Hermaphrodite. A group of small figures. That of Pan is almost entirely new, but the restoration has been executed with great skill, and in perfect correspondence with the antique parts of the fragment. 347. Bust of Seneca. It was discovered in the store- rooms of the Gallery, in 1864. 309. A Philosopher. 310. The infant Hercules strangling the serpents. The extraordinary vigour and strength of the future hero is wonderfully represented in this figure of a child, CABINET OF THE HESMAPHHOD1TE 312. An unknown female bust of beautiful form and wonderfully executed. It was once believed to be the portrait of Berenice, the mistress of Titus. A royal band girdles her hair, which is dressed in several rows of curls, hanging all round the head and down to the shoulders ; a style of hairdressing unusual in the Roman princesses. It is an old Jewish fashion and was used by Mad. e La Valliere et Mad. e Montespan. The curls were probably all false. BAS-BELIEFS. hf fvlloicing six bas-reliefs are fragments of the figured decoration of the ARA PACIS AUGUSTUS. 8. The papish portrait of Augustus. 9. The family of the Clauds. 10. The goddess Tellus. 11. The sacerdotal corporation of the Flamini. 12. The accompaniment of the Senators. 13. Fragment of ornamental decoration. 14. The sacrifice of a bull. Julius Firmicus is the only writer who makes any mention of such sacrifices, which seem no to have been performed in the remo- test epochs of Paganism. The figures in the present bas-relief are crowned with laurel, the one behind re- presenting the sacrificer. The medal in the middle, was perhaps intended to bear an inscription indicating the subject of the bas-relief, as is seen in other simi- lar monuments. 15. Decoration of good style. It is divided in two parts, being deficient of the piece of connection. 325. A model of a Temple. CABINET OF THE HERMAPHRODITE 57 which may be pronounced one of the best works of antique art. An antique bronze statue quite similar to this is kept in the Museum of Naples. 317. A child with a goose; a very cleverly worked group, probablv intended to adorn a fountain. 316. Antinous; a splendid monumental bust, in per- fect preservation. It was purchased at Rome in 1671, by Cardinal Leopold de' Medici, for the price of 77 scudi (462 fr.). 290. Ceres. A pretty seating statue. 313. A child holding a goose, similar to N. 317. 314. Juno; a colossal bust; in the best monumental style. 315. A colossal torso of a Faun. Till 1778 this fragment was the chief ornament of the Gaddi Gallery in Florence. It is now considered one of the finest spe- cimens of antique Greek art, and is not less famous than the celebrated torso, called di Belvedere, in the Vatican Museum. Its style is similar to that of the Laocoon. 318. Alexander dying ; a very beautiful colossal head, considered one of the most marvellous productions of antique classic art. 321. Unknown bust ; very expressive, and very well preserved. 323. Cupid ad Psyche, a very pleasant group which was discovered on the Monte Celio at Rome, in 1666. A group like this but a little larger is seen in the Museo Capitolino. 324. Fragment of a statue in Parrian marble, sup- posed to represent Bacchus from the goat skin by which it is partly covered. It belongs to the best epoch of Greek art. 326. A bas-relief representing the interior of a clo- thier's shop, made to serve for a sign. 58 SCULPTUKES 327. Three pretty female figures. Fragment of bas- relief. 328. Jupiter Ammon ; a colossal head in bas-relief. 329. An Emperor sacrificing ; a well preserved bas- relief. 330. A Genius, bearing Jupiter's thunder-bolts. 331. Two women and a bull; a bas-relief in a good Greek style. 332. A pretty child bearing a vase on his shoulders. 333. A dying Bacchante ; a bas-relief. See an illustra- tion of this, by the Abbe Zannoni (Illustrazione del vaso Cornisiano). 336. Three Bacchantes ; a bas-relief. 337. A bas-relief, the subject of which is similar to that of N. 326. In the Hall of the Portraits of Painters. 338. A statue of Cardinal Leopold de' Medici, the original founder of this famous collection of portraits. 339. The Medicean Vase, placed in the middle of the hall. On this famous urn, generally known under the name of Vaso Mediceo a splendid bas-relief of nine figures is sculptured, which represents the Sacrifice of Iphigenia. The young victim is sitting at the loot of an altar be- fore a simulacrum of Diana, and holds a small branch in her hand, with an expression of deep sorrow and resignation. Two galeati (young men with helmets) stand by her. The one who looks into her face is supposed to be Achilles. He is partly mide but wrapped in a mantle, and wears a helmet on his head and a girdle round his waist, on which the forefinger of his HALL OF PORTRAITS 59 right hand is fixed. The other is Diomede, naked, all but the shoulders and arms, from which a mantle falls in majestic folds. Montfaucon thinks the figure behind that of Achilles to be Ulysses ; Lanzi takes it for Agamemnon, and Zannoni describes it as a figures of Menelaos, since Ulysses is generally represented with the pileus on his head, and Agamemnon ought to be in mourning. This figure in fact is very like that of Menelaos in the famous group in the Miiseo Clementina (See Visconti, v. IV, Tab. 18) and the calm expressed in it, is quite suitable to that prince, for whom the innocent girl was rather sacrificed than for Diana. Agamemnon is very likely represented in the figure behind these. The following figures are probably other captains of the Greek army. Another figure of a naked youth, who seems to walking rapidly, with a short mantle waving down from his shoulders, is supposed to re- present the herald Talthybius. On the upper part of the vase, two vine branches are sculptured in very low relief: the lower part is adorned with leaves and flowers of acanthus. The use of this vase and of other similar ones has been very well described by Visconti in his illustrations ot the Borghesi Gallery, where he quotes the account that Homer gives of ancient banquets. The guests, says he, used to sit at a little distance one from the other; a small table being placed before each of them. A huge vase stood in a corner of the hall, in which wine was kept mixed with water, from which mixture (crasis) the vase was called crater. By the means of small vessels the wine was then drawn from it to be distributed to the guest by the cup bearer. These craters were usually madd of solid material and also marble like this one, which was discovered at Tivoli in the Villa Adriana, and is one of the most important monuments of antiquity, certainly belonging to the best epoch of Greek art. 60 SCULPTURES In tlie second saloon of the Flemish and German School. 340. Upon an oriental alabaster table are two small busts, Vitellius and Adrian. In the saloon of the Italian School. 341. Upon another oriental alabaster table: Sleep; a splendid marble figure, representing a naked child sleeping : a very remarkable piece of antique scupture. Two busts of Seneca on the two sides. In the Tribune. 342. The Venus of the Medicis. Of all the statues of Venus which Rome anciently possessed, and which are mentioned by Pliny, this is undoubtedly to be numbered among the finest, as none so perfect has ever been dug t out from the ruins of that wonderful city, which has afforded so rich a harvest of ancient art treasures. One might say of this statue of Venus that it is among the other statues of that goddess what that goddess herself is among the other goddesses. Writers of different nations have contributed to its celebrity, . which has been continually groving with the ages. The right arm and the lower half of the left are modern, and cleverly done, though far from the perfection of the original. The Venus is probably not inferior to that of Praxi- teles, which was in the temple of Guidus and of which Ovid wrote that her divine majesty alone forbade her to move. It was found in Adrian's villa at Tivoli, and transport- ed to Florence under Cosimo III, about the year 1677 with the Arrotino (the knife-whetter) (346j and the group of the two Wrestlers (343). TRIBUNE J1 Cleomenes the son of Apollodoro the Athenian, was the author of this masterpiece, according to an inscrip- tion in the base, which is evidently modern, but may be supposed to have been faithfully copied from the antique one, when the base was restored, as the name of one of the most famous artists of Greece, like that of Phydias, Polycletus. Scopa or Praxiteles would have been chosen if one had intended to attribute a false author to this statue, while that of Clecmenes would be almost unknown, if this statue had not been discovered. Its height is 4 feet. 7 inches and 8 lines. 343. The Wrestlers. This group is considered tc be one of the best specimens of ancient Greek sculpture. One of the two athletes has thrown the other to the ground, and is still threatening his conquered antogo- nist. In each muscle and vein the violent efforts of the wresling are wonderfully represented. The winner seems to rejoice in his victory, while the other, forced down by the vigorous arms of his fortunate rival bears the expression of impotent wrath. He is still striving to get up again, but his conqueror prevents his stirring by strongly grasping and pressing both his arms. The head of this figure is supposed not to be antique and seems at least to have been retouched but in all the other parts of the group some pieces which are evident- ly new are small and of little importance. - - It was brought from Rome, with the Niobe, in 1677. o44. The Dancing Faun. This statue undoubtedly belongs to the best epoch of ancient sculpture. The figure is entirely nude, and is executed with a remark- able knowledge of anatomy: eveiy part of the body bears the features proper to the satyrs, and a kind of convulsive briskness seems to agitate each muscle. It is generally assigned to Praxiteles, but no reliable argument can be adduced to sustain this opinion, except the extraordinary artistic value of the work itself. The figure is dancing and playing rattles (crotola) and the scabillum or crepetia, tied at the right foot, a kind of musical instrument in the shape of small bellows, which 62 SCULPTURES gave a sharp note when pressed. Maffei considers this statue as one of the most admirable works of antiquity, but the head and both arms are new, and add a great value to this statue, as they are sculptured by Michelangelo, who made them with such wonderful skill, so perfectly imitating the ancient style that the whole figure seems to be the work of a single artist. 345. The little Apollo (L'Apollino) ; so named to distinguish it from the other celebrated Apollo called di Belvedere, in Rome ; which is bigger than this, and is as noble and grand as this is graceful and fine. It was brought from Rome in 1780. and is similar to the little Apollo in the Albani Gallery. -The style is so analogous to that of the Venus de' Medici, that it is supposed to be also a work of Cleomenes. All parts of this statue are ancient. Its height is 4 feet, 6 inches. 346. The Arrotino (The Whetter) or Lo Spione (The Spy), a magnificent and celebrated statue, found at Rome in the XIV century and brought to Florence in 1677. The figure is nude and represents a man bent on a stone, on which he is whetting a hooked knife, which he holds by his right hand, and presses by two fingers of the left, while his head is turned upwards, with an expression of keen attention. This statue has long been supposed to represent Cin- cinnatus, or Manlius Capitol inus, or Milicius, or Accius Nevius, and also the slave who discovered the plot of Brutus' sons in favour of Tarquin, or the one who revealed the conspiracy of Catilin against the Roman republic. The most learned archaeologists now however agree in thinking the subject of this figure to be the Scythian man to whom Apollo gave the order of skinn- ing Marsyas. His attitude, in fact, is just that of a person listening to an order and acting in conformity of it ; and his face bears much of the characteristic features of the Scythian nation. Winkelmann then describes a carved stone formerly belonging to Mr. Stoch's collection and now passed into that of the Emperor of Germany, in which the Scythian is just represented TRIBUNE 63 in this attitude before the figure of Marsyas. A bas- relief also exists in the Borghesi Gallery, and another one at S. Paolo near Rome, both representing Maryas' death, as whell as several old medals, in all which the Scythian is represented in the same way. This opinion is finally supported by clear arguments by the Abbe Zannoni, in his celebrated work intitled : " ILlustrazione della Galleria." This statue in also a splendid master-piece, in a perfect state of preservation. Cabinet of Gems. This fine cabinet, built in the form of a tribune, is decorated with four columns in oriental alabaster, and four in verde antico, about seven feet high. The six glass-cases contain upwards of 400 pieces of workman- ship in pietre fini, rock crystal, lapislazzuli etc., statuet- tes in jasper and calcedonius ; busts, vases, cups etc., all enriched with enamel, and the most precious stones and gems. All these works were executed in Florence in the time of the Medicis, and their material value, although so rich is in many of them surpassed by their artistic worth. Eight columns of Sienese agate and eight of rock crystal ; eight statues of the apostles in pietra dura, by Orazio Mochi, a Florentine ; some bas-reliefs, busts, vases, also in pietra dura, were executed to decorate the altar intended to adorn the splendid Medicean chapel in S. Lorenzo. Case I (to the right). A vase in lapislazzuli of 12 inches in diameter, in one piece. Three small busts of women in jacinth, one of which is enriched with white enamel. Two small bas-reliefs in gold on jasper, attributed to Giun 64 CABINET Or GEMS Bolof/na, but now thought to be a work of Michael Masza- firri, a Florentine goldsmith. A small vase in agate, with enamelled gold handlers, in Cellini's style. Case II. On the lower stage. Two vases in sardonyx, very precioux for their size and the beauty of the grain. The name of Lorenzo de' Medici, is engraved on both. Their value is inestimable. A casket in rock crystal, with the life of Christ in 24 divisions, engraved on the reverse side by Valerio Belli, of Vicenza, by order of Clement VII who gave it in 1533 to Francis I of France in the occasion of the marriage of Cathe- rine de' Medici with that king's son, then called Henry II. It is not known how it was brought back to Florence. The inventories of the Gallery bear it registered for the first time in 1635. This casket is considered to be the rarest work in the collection. On the middle stage: Cosimo II kneeling before an altar. A full length, in bas- relief, ornamented with precious stones ; executed in the . manufactory of works in pietra dura, in 1619. A cup of rock crystal, with a gold enamelled cover, on which are the initials of Diana of Poitiers Cellini's style. On the higher stage: Two vases of rock crystal, one of which is ornamented with admirable engravings, and the other has purposely been left unengraved, not to spoil the extraordinary pureness of its natural transparency. Three bas-reliefs in gold, attributed to Gian Bologna, or rather to Mazzafirri. Two small statues representing two of the Apostles, in pietra dura. Case III. A triangular cup in emerald, in one piece. A statue in pietra dura. Several vases in rock-crystal, agate, and differeiit kinds of jasper. Case IV. A lapislazzuli vase ornamented with pearls, and remark- able for the regularity of its white spots. CABINET OF GEMS 65 A red jasper cup ornamented with diamonds, which a small statue of a warrior in enamelled gold on its cover. A variegated jasper vase, ornamented with pearls. A Venus and Cupid in prophyry, the work of Pietro Maria Serbaldi (la Pescia. Case V. A (Prison jasper cup ornamented with pearls, representing a Hydra, with the figure of Hercules in gold ; by Michael Mazzfifirri of Florence. A small vase in acqua marina. Another vase in emerald. A head in turquoise, of an extraordinary size. The eyes are two diamonds. A large vase in blood-red jasper. A large cup in rock crystal, engraved; with the handles in enamelled gold. A view of the Piazza dell a Signoria, in pietra dura, with bu>- reliefs in gold, by Gaspero Mola. A bowl in the form of a bottle, of Spanish coralline, orna- mented with pearls and cameos (High, to the left). A cats-eye or star-stone, of extraordinary size, surmounted by a pearl. Two small statues of St. Peter and St. Paul, in pietra dura. Case VI. A vase in lapislazzuli, remarkable for its uncommon size and the elegance of its shape as well as for its enamelled gold ornaments. A cup in rock crystal, with a gold handle enamelled. A splendid work, attributed to Bemenuto Cellini. It is now believed to be the work of Masseroni of Milan. A bowl in the form of a sea shell in blood-red jasper. A small oval cup, made out of a single garnet. A bust of Tiberius, in turquoise. The gold ornaments are attributed to Cellini. Small statue of an apostle, in pietra dura. In the centre of the room. A small casket in rock crystal, surmounted by an uncom- monly big pearl, in the form of a litle dog. Cabinet of Cameos engraved stones, nielli, etc. This collection of caineos, engraved stones, etc., consists chiefly of the numerous and precious objects of this kind that the Palatine princess Anna Maria de ; Medici bequeathed to Florence, and that her ancestors had gathered with such munificence and good taste. It is disposed in 12 compartments. The first, second, third and fourth compartments contain old cameos ; the fifth and the sixth contain modern cameos of the XV th century. Antique cut stones are in the 7 th , 8 th , 9 th and 10 th glass-cases ; modern ones of the XV th centurv are kept in the 11 th and 12 th . We shall only mention the more notable objects. Compartment I. N. 3. Large cameo, in onyx, representing Antoninus Pius in the act of sacrificing to Hope, while the Genius of the Empire is throwing some incense on the altar. The extra- ordinary size of this cameo makes it very rare, although it has been wrought by a mediocre artist. 7. Cameo in onyx, representing a winged Cupid playing on a lyre, and sitting on the back of a lion. The name or the author (Protarcos) in written under the figures JIPQTAPXO2 EDOIEI. 13. Apollo in repose. A pretty little figure in gold, on onyx. A very rare work, once belonging to the Piccolntiilai museum. See Maffei : Hlustrazioni delle yemme figttrate, vol. Ill, p. 96. II. 33. Iphigenia recognising her brother Orestes and his friend Pylades. A cameo in onyx. 40. Fragment of a two wheeled car, in onyx; re- stored in gold by Cellini. 51. Head of Dodonean Jupiter, in onyx. One of the most interesting works in the collection. 68. Bust of a Bacchante. A splendid carving in onyx. CAMEOS, ENGBAVED STONES. ETC. 67 III. 86. The head of Augustus, under the form of Apollo. A remarkable cameo in onyx. 87. Head of Augustus ; veiled and crowned with oak. A splendid fragment, in onyx. 109. Head of Vespasian; almost full face. A splendid carving in high-relief in onyx. 114. The head of Livia; veiled and crowned with fruits, in onyx. IV. 148. A wounded stag; in onyx. 156. The fall of Phaeton. A copy of an antique bas- relief. A splendid composition. V. Modern cameos, 178. The Body of Our Saviour, supported by an angel. Mantegna school. A large onyx. 180. On one side: The flight into Egypt, on the other side : The Massacre of the Innocents. A double cameo, in blood-red jasper. VI. Portraits. 221. Cosimo the Elder. 222. Lorenzo il Magniflco. 223. Alessandro de' Medici fby Dominici di Polo de' Vetrt). 227. Catharine de' Medici. 228. Francis I, King of France. 232. Leo X. 236. Philip II. This cameo is thought to be the work of Jacopo da Trezzo, a celebrated Lombard engraver, in the service of the King of Spain. .... Bianca Cappello. 68 CAMEOS, ENGKAVED STONES, ETC. VII. Antique cut stones. 28. The apparition of Apollo. Onyx. A wonderfully delicate engraving. 44. Hercules; in green jade. It was the last seal of the Florentine republic, used at the time of Cosmus the Elder. 54. Hercules in Olympus, with his bride Hebe. A work in amethyst, by Teucros. 66. A Bacchanal. A drunk Silenus, on his donkey. Onyx. 7(>. Tritons; in amethyst. VIII. 358. Bust of Pallas, in sardonyx. 117. Two priests of Mars (Salii) bearing their Ant>Jr* on which are same Etruscan letters. 151. Head of a young Hercules, cut in cornelian. A splendid work by Onesas. 127. The car of the sun, surrounded by the Zodiac. On the other side : The car of the moon, sorrounded by a serpent, the symbol of Eternity. IX. 185. The head of Pluto, or rather of Jupiter Pan- thean. A fragment in onyx. A work belonging to the best epoch of this art. 190. A bust in sardonyx; thought to represent Leander. 203. Head of Augustus, in sapphire. 208. Cajus and Lucius, sons of Agrippa; in cornelian. On the reverse: Paustulus with the twins. 219. Head of Galba, in cornelian. 220. Head of Vitellius, in green jasper. 228. Bust of Adrian, in cornelian. 233. Bust of Lucius Verus, in cornelian. 237. Bust of Crispina, the wife of Commodus: in red jasper. 239. Bust of Julia Domna, the wife of Septimin* Se- verus; in acqua marina. CAMEOS, ENGRAVED STONES, ETC. 69 X. This compartment contains a collection of portraits of Greek philosophers and other personages, all admirably executed. The following ones are particularly to be remarked: _'i5. Head of a veiled woman, in cornelian. JiiT. Head of a woman, resembling Faustina the youn- ger: in green jasper. 130. Mask of a Satyr, in lapislazzuli. XI. In this compartment there are some modern copies of the ring bearing a Sphvnx (N. 2458) which was used by Augustus as a seal and which was found in his tomb, at Corea, near Borne. This precious ring once belonged to the Riccardi museum, and was lately possessed by Mrs. Margaret Fiaschi- Frosini, who gave it to the Gallery in 1859. For the descrip- tion of this ring see The Genealogy of the Count Guidi, by Scipione Ammirato; Firenze fllustrata, by Leopoldo Del Mi- gliore and The life of Jiichard liotiudits Riccardi, by Lami. XII. Engraved stones of the XV and XVI century. 371. Portrait of Savonarola, in cornelian. A splendid work of (iiuratnii /lelle Corniole. 372. Bust of Pope Paul II, in cornelian; once belong- ing to Lorenzo il Magnifico. :>73. Bust of Leo X, in jade; a work of Pier Maria Ser- Imldi da Peseta, or perhaps of his rival Michele di Paolo Fof/f/hn. called Michelino. 374. Portrait of the same; a seal in phorphyry. 334. A marriage allegory, in calcedony ; attributed to Valerio Vicentino. 386. Ring ornamented with a head, in sapphire. A modern imitation of antique style. Then follow eight glass-cases containing about 87 an- cient cameos, 7 carvings in gold, 20 Etruscan scarabees and 403 ancient and modern engraved stones, all bequea- 70 CAMEOS, ENGBAVED STONES, ETC. thed to the Gallery by Sir William Currie, in 1863. In this collection the head of a nymph engraved by Dioscoride is worthy of particular observation. On the wall opposite the window is a mask of Dante, a plaster cast taken after his death. This mask was bequeathed to the Gallery by the Marquis Charles Tor- rigiani, in 1865. On each side of this is a small case in the form of a tripod: containing a number of ancient Roman je\vels, also the seal of the Medicis, bearing the word : COSMUS R. P. FLOR. DUX. ET EJUS CONSILIARII: a work of Dominic di Polo (1532). PART THE SECOND Frescoes on the ceilings of the Corridors. The frescoes on the ceiling of the first corridor were executed by Alessandro Atlori, Gio. Maria Butter?, Giovanni Bizzelli and Alessandro Pieroni, although they are commonly attributed to Bernardino Poccetti who is simply the author of the ornamental figures on the angles of the vault of the Tribune. The subjects are all mythological or allegorical ; the style is that which Vitruvius describes (book VII. chap. V) and Raphael revived, and is now called alia Raffaella. The date MDLXXXI which is seen in the twentieth compart- ment of the first corridor, probably indicates the epoch in which the decoration of the vault was begun. The frescoes of the 2 d and 3 d corridor were executed by Cosimo Ulivelli, Angelo Gori, Jacopo ChiavisteUi, Giuseppe Tonelli and Giuseppe Masini, in the second half of the XVII century, on subjects suggested by Count Ferdinand Del Maestro and Laurence Panciatichi. The fire which invaded a part of the third corridor in 1702. completely effaced the decoration of the last twelve divisions of the vault, which were then remade by Traballi-si. The subjects treated in the frescoes of the first cor- ridor are qiiite fantastical and grottesque, we shall 72 FRESCOES OF THE CORRIDORS therefore only mention those of the second and third ones, which are as follows : 2 d Corridor. I., St. Charles Borromeo and St. Philip. 2. The foundation of the order of St. Stephen. 3. Etruria. 4. A personification of Sanctity, with a glory of several Florentin Saints. 5. Piety. 6. The General Council of Florence under Pope Eugene IV in 1439. 7. St. Dominic and St. Francis. 8. The principal virtues of the grand-dukes Cosmus I, Francis I, Ferdinand I and Cosmus IE. 3 d Corridor. 1. Florence. 2. Some Medicean princes, who reigned before Co- smus I. 3. Portraits of other personages of the Medici family. 4. Portraits of some notable Florentine men, who were liberal to their own town. 5. Fiesole. destroyed by the Florentines in 1010. 6. Portraits of some notable Florentine men, who were liberal to foreigners. 7. Portraits of Florentine men, who ruled on stranger countries. 8. Exploits of Florentine heroes, by sea. 9. Pisa, conquered by Florence in 1406. 10. Exploits of Florentine heroes, by land. 11. Fortune, as a favourer of the Florentine glories. 12. Hospitality of Florence to strangers. 13. Pistoia, famous on account of its civil discords between the Cancellieri and Panciatichi parties, and submitted to Florence in 1382. 14. Civil Prudence. 15. Magnificence in public and private buildings. 16. Erudition. 17. Arezzo : one of the old Etruscan towns ; brought into the power of Florence in 1384. 18. Celebrated Florentine ambassadors. FRESCOES OF THE CORRIDORS 73 19. Secretaires of the Florentine Republic. 20. Matematicks. 21. Vol terra: one of the old Etruscan towns. It was subdued to the dominion of Florence in 1254. 22. Love of Country. 23. Love of Literature. 24. Theology. 25. The town of Borgo S. Lorenzo. 26. Jurisprudence and Legislation. 27. Montepulciano. Submitted to Florence in 1390. 28. Philosophy. 29. Cortona : an ancient Etruscan town. It fell under the domination of Arezzo in 1490, and was sold to Florence bv king Ladislaus. 30. Politicks. 31. Musick. 32. Medicine. 33. The town of Colle. Submitted to Florence in 1349. 34. The Florentine Academies, foundend in different times. 35. Tuscan Eloquence. 36. Tuscan History. 37. The town of S. Miniato, founded by Desiderius king of the Lombards, and conquered by the Florentines in 1370. 38. Poetry. 39. Sculpture. 40. Architecture. 41. Prato : bought bv the Florentine republic in 1350. 42. The Art of Painting. 43. Agriculture. 44. Leghorn. It was sold by the Genoese to Florence in 1421 and ows its prosperity to the decline of its rival Pisa. Corridors. Length of the first corridor . . . . Meters 149,08 of the second 39,47 of the third 147,57 Breadth of each corridor 6,40 Sala delle Copie. In questa Sala gentilmente concessa dal R. Ministero della Pubblica Istruzione, non si trovano che le sole Copie eseguite dagli Originali, vidiraate e autenticate da apposita Commissione. Queste Copie non sono da confondersi con varie Ricopie che a prezzi minori si trovano in commercio. Salle des Copies. Dans cette Salle gracieusement concedee par le R. Mi- nistere de 1'Instruction Publique, on ne trouve que des Copies peintes d'apres les Originaux et authentiquement reconnues par une Commission speciale. II ne faut pas confondre ces Copies avec quelques Reproductions des Copies que 1'on rencontre dans le commerce a un prix inferieur. Copies-Exhibition-Room. This room has been kindly granted by the R. Mi- nister of Public Instruction for the exhibition of Copies taken from the originals and authentically admitted by a special Commission. These Copies are not to be confounded with several re- copies sold at a lower price. Saal der Copien. In diesem Saale, der vom R. Ministerius des Unter- richts angewiesen worden ist, befinden sich nur Original copien, welche als solche von besonderer Comission beglaudigt worden sind. Nicht zu verwechseln mit verschiedenen Recopien die sich oft zu geringen Preisen im Handel befinden. PAINTINGS (Each painting: in the Gallery bears a number on ist frame, which corresponds to that which is marked in the catalogue). First Corridor. 1. UNKNOWN. Greek-byzantine school. X Cent. The Virgin and Child seated between two angels. Above the Magis, and on either sides the Apostles, half length, with their particular emblems. Purchased in January 1889 from Mr. David Ricci at the price of 400 frs. and recognised as an old byzantine work of great value. 2. UNKNOWN. Italian school. XII Cent. Byzantine style. Madonna and Child. The Virgin seated on a throne formed with some cushions covered by a rich cloth. She wears a brown mantel and presses her divine Child to her breast, who is raising his little hand in the act of benediction. Two half length angels are hovering above ; the back-ground is gilded and surrounded by a beautiful wreath of pink leaves. The crusades had a great influence on Art, on ac- count of the precious records that many of the Christian warriors or pilgrims used to bring home from the oriental cities they happened to visit. It was just in (1) Comm. Prof. Gaetano Milanesi has kindly afforded many notices about the names and some dates of the birth and death of the artists mentioned in this catalogue. 7(> PAINTINGS that time that those quaint brown images of the Virgin attributed to St. Luca, who was then tradictionally believed to be the most ancient of all Christian pain- ters, were introduced into Europe, and so enthusiasti- cally admired by our artists that from the eleventh century to the beginning of the thirteenth Art was plunged in darkness and barbarity, never succeeding in extricating itself from the servile and crude imi- tation of these primitive models. 3. UNKNOWN. Italian school. XII Cent. The Crucifixion. The feet of the crucified Lord are nailed on separately to the cross ; the head is a little bent upon the breast ; the eyes are open and staring ; the hair is long and falls from the middle of the fore- head upon the shoulders. A golden girdle is round the waist of the Saviour, from which a rich cloth, or- namented with gold embroideries hangs down to the knees. Above the head is a scroll bearing the words in golden letters : Jhs Nazarenus rex Judeorwn. Both ends of the horizontal arm of the cross bear the figures of the Maries (The left end having been sawed off only one figures is preserved on this side). Under these, along both sides of the Saviour are six representations of small figures on golden ground viz : 1 st Jesus Christ washing the feet of the Apostles. 2 d Judas kissing his divine master. 3 d The flagellation. 4 th The deposition. 5 th The entombment. 6 th The resurrection. The Crucifixion was one of the most favourite subiects of Christian artists of the first period, and the Saviour was then always represented alive on the cross, with his feet nailed separately, the eyes open, the look either calm or stern, following the commun belief that our Lord was still alive when Longinus pierced his breast with the spear. This error had been generally accepted in Germany in the XII th century through some insinua- tions of a certain Peter John who was also supported FIRST CORRIDOR 77 by the clergy. It was later spread in Italy and would probably have lasted for a long time, had not Clement V condemned it. The influence that such disapproval of Peter John's opinion had on the way of representing the Crucifixion was not without a certain importance in the progress of art. The feet of our Lord continue to be separately nailed on the cross in the pictures of the first half of the XIII th century according to the tradiction which was still common with us at that time; but the cru- cified Saviour is then generally represented dead ; the eyes are closed; the body is no more stiff, but bent under its own weight : the face is lined with deep wrinkles and bears the expression of long and dreary sufferings. All this was certainly far from that scientific exact- ness of representation, which the study of anathomy later afforded to Art ; it was yet evidently a step to- wards naturalism, a first attempt to animate artistic fictions by the expression of feeling and thoughts. 4. UNKNOWN. Italian school. XIII Cent. The Crucifixion. The feet of the Saviour are separa- tely nailed on the cross ; the eyes are closed in a con- vulsion which is visible in some almost grottesque contractions of the brow ; the head is a little turned and bent ; the nose is long and narrow ; the mouth is broad and surmounted by a thin mustach ; a short beard covers the chin. The back-ground is gilded ; eight small compositions of diminutive figures are be- neath the horizontal bar of the cross, representing the following subjects : 1 st Christ arrested. 2 d Ecce Homo. 3 d The flagellation. 4 th Jesus on the cross. 5 th The deposition. 6 th Christ buried. 7 th The resurrection. ' 8 th The eucharistic bread. (The extremities and arms of the cross have been sawed off). 78 PAINTINGS 5. GUIDO DA SIENA (Guido di Graziano, called). Born 1278, died 1302. The Virgin and Child. A painter named Guido di Graziano was in Siena at the same time that one was in Florence, and did not only leave several splendid works, but was also the father of a family of artists, by whom art was honoured for more than half a century, so that it may be said that the Siennese school really received its first impulse from them. This painting is a recent acquisition made b}~ the hon. Thechnical Committee of the Florentine Galleries and Museums, after the recommandation of one of its members, Cav. Prof. Cristiano Banti, who was charged to examine the work and succeeded in proving its authenticity before his colleagues, who consequently consented to purchase it, as an object of art, which would fill up a void in the series of the antique spe- cimens of primitive painting in our gallery. Purchased from Mr. Murray. 6. PUCCIO CAPANNA, of Firenze. Flourished about 1349. The Crucifixion. 7. UNKNOWN. Tuscan school, XIV Cent. The Virgin and Child, attended by St. Peter and St. Paul. On the pedestal are three compositions, representing : Christ in the sepulcre, The martyrdom of St. Catherine, and The martyrdom, of another Saint. - On wood. Diminutive fig. 8. GIOTTO (?). Born in 1266, at Bondone in the community of Vespignano in Mugello. Died in 1337. Christ in the garden. On the pedestal two composi- tions in diminutive figures represent : Christ betrai/nl - ,. by Judas, and Christ strijiped for the crucifixion. - , On wood. Half life size figures. 9. UNKNOWN. - Tuscan school. XIV Cent. The Virgin with the infant Jesus, St. John and St. Zenobius. The eternal above. On a golden back- ground, in a gothic golden frame. Taken from the Register-House of Florence. FIRST CORRIDOR 79 10. UNKNOWN. Tuscan school. XIV Cent. St. Bartholemew, sitting on a chair and holding a knife in his left hand. Four angels are around him, two of which are playing on violins and kneeling. Above are three small panels in which our Saviour (half length) in the act of benediction, and two Prophets are represented. It was brought to this Gallery from the suppressed Chamber of Commerce in 1782. 11. UNKNOWN. Tuscan school. XIV Cent. Tin' Virgin sitting and holding the infant Saviour, and figures of angels around her, bearing pots, with lilies. St. John and St. Zenobius kneeling at her feet. On wood ; diminutive figures. 12. GIOTTO'S SCHOOL. The Crucifixion, with small compositions on the pas- sion of our Lord. 13. GIOTTO'S SCHOOL. The Crucifixion. On golden back-ground. In the lower part of the painting is the Virgin, with St. John and St. Mary Magdalene. py 14. ORGAGNA'S SCHOOL. St. John the Evangelist, sitting on a chair, the right **<. ^ hand raised and an open book in the left. Above is a half length Christ with Seraphim and Angels. Under the feet ot the saint are three figures representing Pride, Avarice and Vanity. On wood. Life size. 15. LORENZETTI Pietro cli Lorenzo, of Siena. His works are known from 1327 to 1350. The Holy Virgin and Child, and four angels on each side. - - The name of the author is inscribed with the date 1340. -- On wood. Half life size fig. This painting was given to the Gallery by the Adv. Cellesi, in 1799. 16. LORENZETTI Pietro di Lorenzo, of Siena. The Hermits of the Thebaid ; representing episodes in the life of some penitents in the Thebaid desert. This subject has been treated by the same artist in 80 PAINTINGS the Camposanto at Pisa, but with a different composi- tion. On wood. Dim. fig. 17. GIOTTO'S SCHOOL. A blessed soul taken up into Paradise, in the pre- sence of some friends and the priest standing on the temple door. On wood. Diminutive fig. 26. DADDI Bernardo. A florentine painter, died 1348. An altar piece divided in three parts : in the middle is the Virgin with the infant Jesus, to the right hand St. Matthew the apostle and to the left St. Nicholas bishop. Under the gradino, the words : ANO . DNI . MCCCXXVIII FR. NICHOLAUS DE MAZINGHIS DE CANPI, ME FIERI . FECIT . P . REMEDIO . ANIME . MATRIS. ET FRATUM (sic) . BERNARDUS . DE . FLORENTIA . ME PINXIT. On wood. Half life size fig. From the Convent of Ognissanti in Florence. 20. UNKNOWN. Tuscan school. XIV Cent. The front side of an altar with an image of St. Ce- cilia, surrounded by eight compositions, representing some events in her life, in small figures. This painting was taken from the church of St. Ce- cilia to that of St. Stephen, and in 1841 it was brought to this Gallery. On wood. Dim. fig. Vasari erroneously attributes it to Cimabue. 21. UNKNOWN. Tuscan school. XIV Cent. The Virgin and Child attended by St. Michael and St. Matthew. Taken from the church af S. Angiolo di Nebbiano. 23. MARTINI Simone and ME MM I Lippo of Siena. Simone born in 1285, died 1344. Lippo born ..., died 1357. The Annunciation. This painting with the two ones which bear the numbers 8 and 10, formed one piece formerly, and hung in the Cathedral at Siena. It was then taken to St. Ansano church in Castelvecchio, and in 1799 it was brought to this Gallery. Inscribed : SIMON MARTINI ET LIPPUS MEMMI DE SENIS ME PINXERUNT ANNO DOMINI MCCCXXXIII. - On wood. Half life size figures. FIRST COEEIDOE 81 19. TADDEO GADDl'S SCHOOL. A half length Madonna, holding the infant Jesus. In the pinnacle the Saviour and two prophets : in the gradino Pity and around her the Virgin, the Magda- lene and six figures of other saints all diminutive and half length. On wood. 22. UNKNOWN. Tuscan school. XIV Cent. The Virgin and Child. Above the Annunciation, and below, two coats of arms and the words : ODI LAUTBA PARTE, from which it is supposed to have belonged to the suppressed Tribunal of Justice. On wood. 27. GIOTTINO (?) This precious work of the XIV th century was erro- neously attributed by Vasari to a certain Tommaso di Stefano .called Giottino, a Florentine painter. Since two painters lived at the same time in Flo- rence, one of whom was called Maso son of Banco, inscribed among the artists before 1343 and in the as- sociation of St. Luke (Compagnia di S. Luca) in 1350, and the other Giotto di Maestro Stefano called Giottino in order to distinguish him from his famous namesake, Vasari confused the two names, creating out of these two one imaginary artists whom he called Tommaso di Stefano called Giottino. "What Vasari affirms about the author of this painting being then imdoubtedly erroneous, the best modern critics have long endeavoured to find out whether it belonged to Maso di Banco or Giotto di Maestro Stefano ; and although they did not succeed in giving a sure answer to this question, it is yet most probable, as Prof. 1 Milanesi and some others remark, that this painting is the w T ork of Maso di Banco, whom Philip Villani, Sacchetti and Ghiberti mention, and whom an unpublised document of that time calls a great master. On wood. 28. GADDI Angelo, of Florence, son and pupil to Taddeo. Born about 1333, died 139fi. The Annunciation. Three small compositions are on the pedestal : the Nativity ; the Epiphany ; the Presen- tation in the temple. On wood. Half life size fig. 82 PAINTINGS 29. N1CCOLO DI PIERO GERINI, florentine painter. Inscribed among the artists on September 15th 1368, died in 1415. The Saviour in the act of crowning his holy Mother. Underneath are some patron saints of Florence. In the gradino are seen the coats of arms of the Florentine Mint, which ordered this painting from Nicholas Gfe- rini, who was helped in his work by master Simon, until Jacob of Lino another Florentine painter, com- pleted in 1373. Niccol6 di Piero Gferini had been entirely forgotten among our painters and his name was only brought to light in 1820, when Latini engraved the representations of our Lord's passion in the assembly hall (capitolo) of St. Francis, where Niccolo had signed his name with the year in which he executed those frescoes. This painting was taken to this Gallery from the suppressed office of the old Florentine Mint, on the 21 st July 1863. 30. ANGELO GADDI'S SCHOOL. St. Thomas touching the Saviour's breast. Above two prophets. On wood. From the Superintendence of the Chamber of Com- munities. 31. IACOPO DEL CASENTINO. Flourished in the half of the XIV Cent. The Coronation of the Virgin. A triptyc : St. Francis and St. John the Baptist, St. Ivo and St. Dominic in the side panels. In the pinnacles the Annunciation in two separate figures, the Virgin on one side, the angel on the other and Our Lord delivering souls from Limbo . On wood. Half life size fig. 33. UNKNOWN. - Tuscan school. XIV Cent. A Saint giving alms to two beggars. 36. ORGAGNA (Andrea di Cione), a florentine painter, sculptor and architect. B. 1308, d. 1368. The Annunciation. On wood. Half life size. 32. MILANO (Giovanni da), pupil of Taddeo Gaddi. XIV Cent. A picture in ten compartments, in gothic style. In each of the five compartments above are two saints : the compartments below which are smaller, contain FIRST COREIDOB, 83 each a number of diminutive figures of saints, divided in choirs. In the first to the right is the choir of the Prophets, in the second are the Patriarchs, in the 3 d the Apostles, in the 4 th the Martyrs, in the 5 th the Virgins. This precious work had been recognised by Baron Rumhor as the one mentioned by Vasari, which Gio- vanni da Milano executed for the church of Ognissanti in Florence, where it was still in fact when it was purchased by the Government in 1860 to place it in this Gallery. On wood. Dim. fig. 35. UNKNOWN. Florentine school. XIV Cent. St. Martin, on a white horse in the act of cutting his own cloak in two parts with his sword and giving it to a beggar who is standing before him. On gold back-ground. Two chalices in bas-relief on the frame represent the coat of arms of the Taver keepers. On wood. Dim. fig. 34. UNKNOWN. - XV Cent. The Virgin sitting and holding the infant Jesus in the act of benediction. Six angels in adoration are around his head. On wood. With golden ornaments. Taken from the monastery of Santa Verdiana. 40. LORENZO MONACO, of Florence. B. 1370, d. 1425. The Virgin and St. John both kneeling and holding the body of our Saviour. Above are the scenes of the passion, below two coats of arms and an inscription with the date 1404. A lunette in distemper. On wood. Life size. Bought from Mr. William Spence, on the 5 th of July 1882. 37. SPINELLO ARETINO. Born 1333 circa, died 1410. The Calvary. In the foreground is the Virgin fainting in the arms of the Maries. At the foot of the cross are St. Mary Magdalene and St. John kneeling : to the right is a group of soldiers throwing dice for the Sa- viours vesture. On wood. Dim. fig. This painting was purchased in 1870. 38. UNKNOWN. Tuscan school. XIV Cent. The Holy Virgin and Child. From the convent of St. Lucy in Via San Gallo in Florence. 84 PAINTINGS 39. LORENZO MONACO. The Adoration .of the Wise Men. This picture is very valuable on account of its composition, colouring and finish. The Annunciation and two Prophets which are seen above were not originally painted to adorn this picture, and are not equally antique. - - On wood. Dim. fig. 41. THE SAME. Triptyc. In the middle is the Virgin sitting on a throne with the divine Infant standing on her lap in the act of blessing. Behind the throne stand two angels in adoration. Right arid left St. John the Baptist, St. Bartholomew, St. Taddeus and St. Benedict. In the three other compartments is the holy Saviour, the Angelical Messenger and the Virgin. Under the Madonna the words : Ave gratia plena Dominus tecum. An. D. DCCCCX. On wood. Life size. This painting was formerly in the subterranean ora- tory of the church of Monte Oliveto near Florence. 42. UNKNOWN. - XIV Cent. The Virgin with the divine Infant enthroned. At her sides are two Saints. On wood. Purchased from Cavaliere Giuseppe Toscanelli for the price of L. 2750, and then believed to be a work of Cennini as the name of this author is written on the very painting, which signature is however now consi- dered to be false. 43. STROZZI Zanobi, of the noble Strozzi family. A pupil of Fra Angelico. Born in Florence, on Nov. 17th 1412, died on Dec. 6th 1468. Portrait of Giovanni Bicci de 1 Medici, in a red mantle. - On "wood. Vasari says : In the Duke's storeroom were the portraits of Giovanni di Bicci de' Medici and Barto- lommeo Valore, in one painting. Now the commen- tators of Vasari affirm this portrait to be just that of Giovanni di Bicci de' Medici, which has been separated Irom the other in order to add, to the series of the portraits of the Medicis, that of this old countryman, who is the stock of the two branches of that princely family. It is also to be remarked that all other por- FLRST CORRIDOR 85 traits of Giovanni di Bicci have been evidently copied from this one. 44. STROZZI Zanobi. St. Lawrence, leaning on the gridiron, and holding. a flag in his right hand and a book with a palm in the other. Above the figure of the saint, in a circular compartment is a half length figure of our Saviour. Two episodes of St. Lawrence's life are represented underneath on the base of the frame. - - On wood. Life size. 45. BICCI di Lorenzo. Born 1350, died 1427. St. Cosmus and St. Damian : two standing figures in full length. Above in the compartment, a half length the Eternal ; in the base of the frame two compositions representing episodes in the lives 'of these saints in diminutive figures. This picture, which is perhaps the only authentic one, that is known, of this artist, was executed in 1429 for Anthony Gfhezzi della Casa, and hung then long at a pillar in the cathedral, untill it was taken to this Gallery in 1844. On wood. Life size. 46. UNKNOWN. Tuscnn school. XV Cent. The Holy Virgin enthroned, and her divine Child on her arm, in the act of benediction ; attended by St. John and St. Philip. Above two' angels upholding a crown, On wood. Transferred from the suppressed Chamber of Com- merce. 48. UNKNOWN. - XV Cent. The Virgin sitting and holding the infant Saviour. On the right side stand St. John and St. Francis ; to the left are the Magdalene and St. Paul. Above is the Crucifix and to the left and right are St. Peter and St. Paul. On wood. 49. UNKNOWN. Tuscan school. XV Cent. St. Catherine. On wood. Brought from the convent called de' Barbetti in Flo- rence, on July 1867. 86 PAINTINGS 50. UNKNOWN. Tuscan school. XV Cent. St. Francis. On wood. Brought from the convent called de' Barbetti in Flo- rence, on July 1867. 51. UNKNOWN. Tuscan school. XV Cent. The Holy Virgin with Child, attended by St. An- thony, St. John, St Peter and St. Sthephen. On wood. Dimin. fig. 52. UCCELLO Paolo, of Florence. Born 1397, died 1475. A combat between horsemen. According to Vasari, this is one of the four pictures, which Paolo Uccello executed by commission from the Bartolini family of Via Valfonda, and which, being much damaged by time, were restored by Julian Bugiardini. A painting similar to this is in the National Gallery in London (N. r 583) and represents the Battle of St. Egidio in 1416, where Braccio da Montone makes Malatesta, the Lord of Rimini, a prisoner. Vasari says that several of the figures in these paintings are intended for some renow- ned Captain of Fortune of that time. In the right hand corner one reads: PAULI UCELI OPUS. - On wood. Half life size fig. 53. BICCI (Neri di), of Florence. Born 1419, died 1491. The Annunciation, and the Eternal .hovering above. Neri di Bicci in his Commentary mentions this painting, which he made in 1458 for the Compagnia di St. Andrea a Mosciano. as may be read in the inscrip- tion at the foot of the painting itself. On wood. Half life size fig. 3437. VERROCCHIO'S SCHOOL. The Virgin with the divine Son. 61. UNKNOWN. XV Cent. The Holy Virgin and Child : the infant St. John and two angels. This painting has been judged to be the work of Fra' Damiante. A tabernacle. 56. BALDOVINETTI Alessio, of Florence. Born 1422, died 1499. The Annunciation. This paintings, which was origi- FIEST CORRIDOR 87 nally made for the church of S. Giorgio sulla Costa, \vas believed to be lost, when it was rediscovered in the adjoining Monastery. It was brought to the Gal- lery in 1868. On wood. Life size, 57. UNKNOWN. Tuscan school. XV Cent. The preaching and martyrdom of St. Peter the Martyr. To the left the saint is preaching to a crowd of listeners, through which a demon in the form of a black horse is rushing, in order to disturb their pious attention. To the right the saint is seen whom a sol- dier is striking on the head with his sword. This painting is in the old inventories attributed to Dello ; a Florentine painter. On wood. Dim. fig. 64. BICCI (Neri di). The Holy Virgin. A two third length figure, sitting and turned to the left, with joined hands, and the di- vine child on her knees, with a pomegranate in his hands. Two angels hovering on each side are upholding a curtain. On wood. Life size. 58. UNKNOWN. - Tuscan school. XV Cent. The Epiphany. This painting is also attributed to Dello as the N. 57. On wood. Dim. fig. 60. BALDOVINETTI Alessio. The Holy Virgin seated and holding the infant Sa- viour ; attended by several saints. On her right St. John the Baptist, St. Cosmus, St. Damian, and St. Francis kneeling : on the left St. Laurenz, a hermit, another saint, and St. Dominic kneeling. This picture hung formerly in the chapel of the royal villa of Cafaggiolo. and was brought to this Gallery in 1796. On wood. Half life size fig. 62. UNKNOWN. Tuscan school XV Cent. The game of the owl. Some young people playing at the game volgarly called la civetta (the owl) on an small square, by the gate of a town. The architecture of the buildings and the dresses of the people are Flo- rentine. Purchased on the 17 th March 1781, from a certain 88 PAINTINGS J. Perini, at the price of 20 Zequins. -- On wood. Dim. fig. 63. ROSSELLI Cosimo, of Florence. Born 1439, died 1507. The Coronation of the Virgin. -- On wood. Dimin. figures. 66. BOTTICELLI'S SCHOOL. The banquet of Ahasuerus to the Lords of his king- dom. On the left under a bower is a laid table where Ahasuerus is sitting in the midst of his princes, with three musicians in the back-ground. Some Lords come towards the table, two of whom approaching it, kneel down. On the right Ahasuerus followed by four Lords is represented walking along a portico, where a fountain stands. An old man of quality is kneeling at his feet; on the foreground of this scene there is a deer. On wood. Dim. fig. This painting with the two following ones (67 and 68) decorated the sides of an old trunk and were purchased on the 6 th of June 1781 from a certain Giuseppe Mo- rellini, carpenter, at the price of six zequins. See the register of the year 1781, volume XIV, to be found in the archives of the Royal Gallery. 67. THE SAME. The banquet of the queen Vasthi, wife of Ahasuerus. On the right Vasthi in sitting at the table in the midst of five ladies of honour while the eunuchs are coming to her with the order to go to Ahasuerus. On the left the arrest of Haman. On wood. Small figures. - See note to N. 66. 65. ROSSELLI Cosimo, of Florencp. Born 1439, died 1507. The Adoration of the Wise Men. This picture con- tains several portraits, among which, according to Va- sari, is that of Donato Acciajoli. Although Lanzi in his History of Painting mentions this picture as exist- ing in this Gallery yet it remained hidden and ignored, until 1857, among the paintings which were kept, excluded from the sight of the public, in the Corridor, then shut and unfrequented, which unites the Palazzo Vecchio to the Pitti Palace, and now the Ufizi and FIEST COBEIDOB, 89 the Pitti Galleries. Vasari attributes this work to Pe- sello. but senator Morelli, in his book : Le opere dei Maestri Italiani nelle Gallerie di Monaco, Dresda, Ber- lino ; Bologna, 1886, p. 353, thinks it to be rather the work of Cosimo Rosselli. On wood. Half life size fig. 68. BOTTICELLI'S SCHOOL. Exaltation of Mordecai. He is seen of the left, dressed in royal vestments, riding on a horse richly harnessed, and preceded by Haman ; on his way he is met by two children and two men who, stretching out their hands, applaud him. On the back-ground, beyond a terrace Haman is seen hanged. On the right, Ahasuerus, with Esther at his side, walking under a portico They are advancing towards a door, close to which Haman is sleeping. In the foreground the king and queen are talking with Mordecai who is sitting. On vood. Small figures. See note to N. 66. 59. ROSSELLI Cosimo, of Florence. B. 1439, d. 1507. The Virgin sitting and holding the infant Jesus on her lap ; behind her, and at her side, stand two angels in adoration with clasped hands. On wood. From the Royal Mint of Florence. September 1863. 79. BOTTICELLI? The Virgin and Child with architectural back- ground, A three thirds lenght figures. On wood. 69. POLLAIOLO (Pietro del), of Florence. Born 1441, died 1489 ? Hope. The figure of a woman seated in a bench, and turned to the left, having her hands clasped on her breast and looking towards heaven. - On wood. Life size. Vasari in his biography of this artist says : Se- veral allegorical figures of virtues were painted in the market place of Florence all seated on bencher like those on which judges sit. Those of Pollaiolo are : Faith. Hope, Charity. Justice, Temperance and Pru- dence, which last is seen in the 3 d hall of the Tuscan School, N. 1306, where the figure of Strenth by Botti- celli is also placed, N. 1299. 90 PAINTINGS 70. POLLAIOLO (Pietro del). Justice. A woman sitting in a bench like the pre- ceding one, and holding a sword in her right hand. On wood. Life size. See note to N. 69. 71. THE SAME. Temperance. A woman standing on a bench and hold- ing with her right hand a golden vase from which she pours out water in a golden cup placed on her left knee. On wood. Life size: Se note to N. 69. 72. THE SAME. Faith. A woman also sitting in a bench, holds up in her right hand a chalice covered with a patine and in the other hand a crucifix in metal ornamented with precious stones. On wood. Life size See note to N. 69. 73. THE SAME. Charity. A woman bearing a royal crown on her head is sitting on a bench and suckling a naked babe which she is pressing to her breast with her left arm while holding up a light with the right one. On wood. Life size. See note to N. 69. 64. ROSSELLI Cosimo. The Madonna and Child. On each side of the chair is an angel. St. Anthony and St. Nicholas. On wood. 84. PIERO DI COSIMO. The, Nuptial of Perseus disturbed by Phineas. Per- seus is represented in the act of petrifying Phineas and his companions, by holding Medusa's head before their eyes On wood. Dim. fig. 75. UNKNOWN. Tuscan school. XV Cent. A half length Madonna in a tabernacle, with the Child, in the act of stretching his arms up to her neck. Architecture in the back-ground. On wood. Life size. 80. DOMENICO GHIRLANDAIO'S SCHOOL. The Holy Virgin on a chair, with her Divine Child standing on her knee, and attended by S. Blasius, St. Francis and St. Anthony. This painting was originally on wood, but it was FIRST COBEIDOE 91 transferred to canvas by signer Botti of Venice, in order to secure it from further decay. 74. SIGNORELLI Luca, of Cortona. Born 1441, died 1532; a pupil of Pier della Franceses. The Virgin holding her divine son on her lap, and four figures of shepherds behind. Above are two pro- phets painted in chiaro-scuro. This picture was ordered by Lorenzo de' Medici. On wood. Half life size. 3418. THE SAME. Allegory. This painting was purchased in 1895 by the Royal Ministery of Public Instruction. 81. PIERO di Lorenzo, called Piero di Cosimo (Rosselli). Born 1462, died 1521. The Virgin Mary standing on a pedestal, attended by four 'Saints: St. Margaret and St. Catherine kneel- ing before her : all looking up to the Holy Ghost. Placed in this Gallery in 1804. On wood. Life size. 83. THE SAME. Andromeda delivered from the momter by Perseus. This is perhaps one of the pictures ordered by Francis del Pugliese and mentioned by Vasari, Vol. VTI, p. 119. In the inventory of the Gallery of 1589, p. 30, this work is said to have been drawn by Leonardo da Vinci and coloured by Piero Rosselli. On wood. 90. UNKNOWN. Tuscan school. XVI Cent. The Holy Virgin above, in an oval glory of little angels : Underneath are four saints. On wood. Taken from the Monastery of S. Vivaldo near Citta di Castello. 82. PIERO DI COSIMO. A sacrifice to Jupiter, to deliver Andromeda. - - On wood. Dim. fig. 89. UNKNOWN. - Tuscan school. XV Cent. The Holy Virgin suckling her Divine Child, with the infant St. John standing on her left. The style of 92 PAINTINGS this painting is very similar to that of Rodolfo del G-hirlandaio. A round painting on wood. Taken in 1889 from the R. Office of the Avvocatura Erariale, in Florence. 91. GER1NO d'Antonio Gerini, of Pistoia. A large painting, representing the Virgin enthroned and Child, attended by saints. St. Jacop, St. Cosmus, and St. Mary Magdalene on the right ; St. Catharine, St. Peter and St. Dominic on the left. On the throne of the Virgin are the words : GERINUS ANTONII DE PISTORIO PINXIT MDXXIX. This picture was in the convent of the nuns of Sala at Pistoia. On wood. Life size fig. Second Corridor. 93. ANDREA DEL SARTO, of Florence, B. 1486, d. 1531. The ./Saviour appearing to the Magdalene, under the figure of a gardener. On wood. 92. UNKNOWN. - Tuscan school. XV Cent. The Holy Virgin and the infant Saviour with the child St. John in the act of offering a rose to his divine companion. A nound painting, on wood. Half life size fig. 86. UNKNOWN. Tuscan school. XV Cent. The Holy Virgin and Child. Taken from the office of the R. Court of Appeal. - On wood. 87. VERDI Francesco d'Ubertino, called il Bachiacca. B. 1494, died 1557. The Crucifixion. This painting was brought to this Gallery, from the convent of Santa Maria Madda- lena de'Pazzi in 1867. On wood. Life size. 55. UNKNOWN. Tuscan school. XV Cent. The last judgement. Above is Christ in the act of blessing and on his left the Virgin praying for mercy SECOND COBEIDOE 93 to her divine Son, surrounded by the Apostles. Beneath are two allegorical choirs of angels : the angels of the Passion and Resurrection, and under these are the blessed and the wicked with demons tormenting and dragging them down to hell. On the reverse of this painting is the figure of an angel playing a flageolet, and two coats of arms. A polygonous panel. Taken from the convent of Annalena, in Florence. 78. BOTTICELLI'S SCHOOL. A half length Madonna, bearing her divine Son on her arms. On wood. Third. Corridor. 78. LUTI Benedetto, of Florence. Born 1666, died 1724. Moses delivered from the waters. On canvas. Life size. 3430. UNKNOWN. Portrait of a child. On canvas. Life size. 3412. ANDREA'S SCHOOL. Portrait of a gentlewoman. On canvas. Life size. 634. FLEMISH SCHOOL. Jesus presented to the people. On wood. Dim. fig. 80. MANSUETI Giovanni, of Venezia. B. 1450 (circa), died 1500. Jesus among the Doctors, with a remarkable archi- tectural back-ground. On canvas. D. fig. The composition of this painting is rich with a great variety of figures in strange oriental dresses. On the lower edge of the canvas one reads: JOHANNES DE MANSUETIS FACEBAT. It was bequeathed to this Gallery by Cav. Niccold Puccini, in 1852. 3402. SUSTERMANS Just. Born in Antwerp in 1597, died in Florence on april 24th 1681. A young warrior. On canvas. Life size. 94 PAINTINGS 1190. SUSTERMANS Just, of Antwerp. Born 1557, died in Flo- rence on april 21st 1681. Portrait of Francesco dei Medici, in an oriental dress. On canvas. Life size. 3455. THE SAME. Portrait of a young buffoon. On canvas. Life size. 150. UNKNOWN. (School of Van-Dyck). The Virgin with the infant Jesus, St. Mary Magda- lene, David, and other saints. Brough from Vienna in 1793. On canvas. Life size. 796. FLEMISH SCHOOL. A wedding dance. 1391. SUSTERMANS Just. Portrait of an unknown man. On canvas. Life size. 1188. THE SAME. Portrait of an unknown man. On canvas. Life size. 3456. UNKNOWN. Portrait of Ferdinando II. On canvas. Life size. 1207. UNKNOWN. Portrait of JBianca Cappello. 152. G. HONTHORST, called Gherardo delle Notti. A Gipsy telling an young woman's fortune, and other figures. A little more than half length. Life size. On canvas. 3413. PIERO DI COSIMO. Portrait of an unknown man. 3414. UNKNOWN. Portrait of Catherine Sforza. On canvas. 3453. SUSTERMANS Just. Portrait of an unknown woman. On canvas. Life size. 88. MANGLAND Adrian, of Lyori. Born 1695, died 1760. View of a sea port. On canvas. THIRD CORRIDOR 95 91. MICHELI Andrea, called Andrea Vicentino. Born 1539, died 1614. The queen of Sheba offering her jewels to Salomon. On canvas. Life size. 90. MANGLARD Adrian. A sea port. On canvas. 3429. FLEMISH SCHOOL. Portrait of a gentlewoman. 3403. POURBUS Francis, of Antwerp. B. 1570, d. 1622. Louis XIII of France. On canvas. Life size. 95. UNKNOWN. School of Paolo Veronese. Resurrection of Lazarus. On canvas. Life size. 79. HEMBRECKER Teodoro, of Harlem. Born 1624, died 1694. A masquerade in a village. On canvas. Dim. fig. 3404. POURBUS Francis. Louis XIII of France. On canvas. Life size. 3425. BRONZING Angelo, of Florence. B. 1502, d. 1572. Cosimo I dei Medici. On wood. Life size. 3408. CASTIGLIONI Gio. Benedetto, of Genova. B. 1616, d. 1670. Beasts behind an army. : On canvas. Dim. fig. 3405. EMPOLI (lacopo Chimenti, of Florence, called I'). Born 1551, d. 1640. Portrait of Gio. Batta. Gambetti. On wood. Life size. 82. BATONI Pompeo, of Lucca. Born 1708, died 1787. Achilles in female attire at the court of Lycomedes; recognised by Ulysses, who surprises him while, among various jewels and other feminine ornaments, he choses a sword, which Ulysses himself had just put there for that purpose. On canvas. Half life size fig. Both this painting and N. r 81 were purchased from the Bonfisi house in Lucca, in 1836. 81. THE SAME. The education of Achilles, by the centaur Chiron. On canvas. Half life size fig. 96 PAINTINGS 107. FYTT John, of Antwerp. Born 1609, died 1661. Some poultry scared by the presence of a falcon perched on the branch of a tree. On canvas. Life size fig. 106. UNKNOWN. Canaletto's school. St. Mark's square at Venice. On canvas. 3424. SUSTERMANS Just. Vittoria della Rovere Grand-duchess of Tuscany. On canvas. Life size. 3426. THE SAME. Ferdinand II Grand- duke of Tuscany. On canvas. Life size. 96. DA PONTE Francesco, called il Bassann. The supper at Emmaus. On canvas. D. fig. 97. THE SAME. Christ in the house of Lazarus. On canvas. Half life size fig. 3395. DA PONTE lacopo, also called il Bassano. Born at Bassano in 1510, died 1592. The announcement to the shepherds. On canvas. Dim. fig. 3397. SUSTERMANS Just. Portrait of an unknown young man. -- On canvas. Life size. 114. ROOS Philip, of Frankfort, called Rosa da Tivoli. Born 1655, died 1705. Sheep and cattle, in the environs of Rome. - - On canvas. 3398. SUSTERMANS Just. Portrait of an unknown young woman. On canvas. Life size. 3428. POURBUS Francis (the young), of Antwerp. Born 1570, died 1622. Portrait of a gentlewoman. 3396. SUTERMANS Just. Portrait of an unknown young man. On canvas. Life size. THIED COBEIDOB 97 132. TIERCE Jean Baptiste. A French artist of the XVIII Century. The fall of the Teverone, at Tivoli, called Le Casca- telle. Subscribed J. B. TIERCE F. 1782. On canvas. Life size. 3401. SUSTERMANS Just. Portrait of an unknown man dressed with armature traversed with a red sharp. -- On canvas. Life size. 3447. POURBUS Francis (the young), of Antwerp. Born 1570, died 1622. Louis XIII of France. On canvas. Life size. 1106. LANFRANCO Giovanni, of Parma. B. 1586, m. 1647. St. Peter. On canvas. Life size. 3415. POURBUS Francis. Louis XIII ling of France. On canvas. Life size. 101. SUSTERMANS Just (the young). St. Mary Magdalene penitent. The features resemble those of Vittoria della Rovere, wife to Ferdinand II de' Medici. On canvas. Life size. 3410. POURBUS Francis, of Antwerp. B. 1570, d. 1622. Portrait of a young Princess. On canvas. Life size. 3406. SUSTERMANS Just. Portrait of a young man. On canvas. Life size. 127. BOUGET Didier, of Chantilly. - XVIII Cent. A landscape, executed with remarkable fineness of detail. A mountain in the distance seems intended for the Monte Mario. Subscribed : D. BOUGET, Rome 1792. On canvas. 3411. POURBUS Francis. Portrait of a young Princess. - - On canvas. Life size. 207. DOLCI Carlo, of Florence. Born 1610, died 1687. Santa Galla Placidia. On canvas. Life size. 129. RESCH1 Pandolfo. A landscape, with figures, representing the building of a nunnery. On canvas. Dim. fig. 98 PAINTINGS 120. UNKNOWN. Our Saviour ascending Mount Calvary. -- On can- vas. Dim. fig. 148. HONTHORST Gerard, called Gherardo delle Notti. Born at Utrecht in 1592. The epoch of his death is uncertain : it is believed to be either in 1666 or in 1680. A supper, by candle light. Half lenght, life size figures. On canvas. 133. COSTA Francesco, of Genoa. Born 1672, died 1740. A view of ruins on the sea shore, with figures re- presenting the rape of Europa. On canvas. D. fig. 3410. DOUVEN cav. J. Francis, of Roermont (Ruremonda). B. 1656, died 1727. Portrait of John William Palatine Elector. - - On canvans. Life size. 112. BONONE (or Bononi) Carlo, of Ferrara. B. 1569, d. 1632. St. Peter delivered from prison. On canvas. Life size. 634. DA PONTE Francesco, called il Bassano. The Ark of Noah. On canvas. Dim fig. 122. THE SAME. The Ark of Noah floating on the waters. - - On canvas. Dim. fig. 134. RESCHI Pandollb, of Danzink. Born 1643, died at S. Jacopo Sopr'Arno, on august 17th 1699. A landscape, with soldiers assailing a nun, on a bridge. On canvas. Dim. fig. 137. MANNOZZI Giovanni, called Giovanni da S. Giovanni. The wine joke of Pievano Arlotto. Affresco. Half life size fig. 146. MIREVELT Michael. Portrait of a man. He is dressed in dark and holds the gloves in his left hand. On wood. Life size. 145. FAES Peter. Portrait of Lord Ossory, general in the English army. On canvas. Half lenght. Life size. THEBD CORRIDOR 99 3400. SUSTERMANS Just. Born in Antwerp in 1597, died in Florence on april 24th 1681. St. Marguerite. She is seating and holds a book and a palm in the left hand, in the right she holds a cross. At her feet is a monster. On canvas. Life size. 3429. BRONZING Angelo. Portrait of a gentlewoman. On wood. Life size. 3431. THE SAME. Portrait of a gentlewoman. On wood. Life size. 143. FLEMISH SCHOOL. Portrait of a gentlewoman. She is standing, dressed in dark, and holds a book in her left hand. On wood. Life size. 142. FAES Peter, called il Cavalier Lely. Born at Soest in Westphalia in 1618, died at London in 1680. Portrait of Robert Prince Palatine, English general. A half length figure. On canvas. Life size. 3393. ROSA Salvatore. A landscape. Given to the Gallery by the chev. Arthur de Noe Walker in 1893. On canvas. 3432. BRONZING Angelo. Portrait of a gentlewoman. On wood. Life size. 3433. THE SAME. Portrait of a gentlewoman. On wood. Life size. 3430. SUSTERMANS Just. Portrait of a young man. On canvas. Life size. 93. BONIFACIO Veronese. Born 1491, died 1553. Holy family. On canvas. Half life size fig. 3407. ALLORI Cristofano, of Florence. B. 1577, d. 1621. The Magdalene. On canvas. Life size. 715. UNKNOWN - XV Cent. A landscape. 100 PAINTINGS 3394. RENI Guido. B. at Calavenzano, near Bologna, in 1575, died 1642. The Virgin of the Snow, and two Saintes. - - On canvas. Life size. Given to the Gallery by chev. Arthur de Noe Walker in 1893. 720. UNKNOWN. - XVII Cent. A landscape. 40. BRILL Paul. A landscape. On canvas. 3409. CARDI Lodovico, called il Cigoli. , The Magdalene. On canvas. Half life size. 128. CASTELLI (or Castello) Valerio, of Geneva. Born 1625, died 1659. The rape of the Sabines. On canvas. Half life size fig. 1253. FIERI Stefano, of Florence. The sacrifice of Abraham. On canvas. Life size. 33. UNKNOWN. School of Andrea del Sarto. The Holy Virgin with the infant Saviour and St. John. A copy of the celebrated fresco, which formerly existed in a shrine near Porta a Pinti ; and was destroyed in 1530. Original Drawings of ancient great Masters. The Florentine Gallery already possessed one of the rarest collections of original drawings by the greatest Masters (about 40,000) when in I860 the distinguished sculptor Prof. Emilio Santarelli, added the splendid present of his own collection, consisting of not less than 12,461 pieces. We cannot certainly give here a detailed and general catalogue of such a considerable number of works, and DBA WINGS 101 must therefore confine ourselves to affording a few histo- rical notice concerning these unrivalled drawings. George Vasari in his biographies of the Artists (Vite d' Artefici) often speaks of an album he possessed, in which he had gathered several drawings of the most celebrated Italian Artists of his time. He also mentions a similar collection made by Vincenzo Borghini. Of this no notice has reached us ; but as to that of Vasari it is almost certain that the greatest part of the drawings were purchased by Cardinal Leopold de' Medici, and were the nucleus of the present collection. Several drawings, by Gaddi. Michelozzi and Hugford, were then added and in 1709 they were all taken from Palazzo Pitti to this Gallery, where however a few of them were shown to the public, and not before 1854. In 1866 a new selection of the best pieces of the, col- lection was brought out and ranged with the others in the corridor which runs over the Ponte Vecchio, and finally in 1882 they were provisionally taken into these rooms where their preservation is better secured. In 1891 another great part of drawings has been exhibited in the first and second corridor, in manner that all drawings have been definitively and rationally classificated. They are subdueed in two great categories : the first, who is in the three halls, comprends the drawings of masters of all schools, from the XIII Century till the first half of the XVI; the second, who is sistemated in the two mentioned corridors, is formed by the dra- wings of the second half of the XVI Century till the end of the XVII. We give here simply the names of the principal artists to whom the most remarkable of these drawings belong, in order to give an idea of the extraordinary importance of this famous collection. XIV Century. Taddeo and Angelo Gaddi -- Lorenzo di Bicci Lorenzo Ghiberti Pisanello Simone Mai~tini. . 102 DRAWINGS XV Century. Beato Angelico - - Andrea del Castagna - - Paolo Uccello Luca della Robbia Masaccio Benozzo Gozzoli Fra Filippo Lippi Antonio and Piero del Pollaiuolo Andrea del Verrocchio -- Luca Si- gnorelli P. Perugino - - Domenico Gliirlandaio - Lorenzo di Credi Leonardo da Vinci - - Botticelli - F. Squarcione Gentile and Giovanni Bellini - Andrea Mantegna Carpaccio Liberale da Verona Giorgione Schongauer Israel Van Meckeln. XVI Century. Raffaello Michelangiolo Fra Bartolommeo - M. Albertinelli Andrea del Sarto Baldassarre Peruzzi Beccafumi - - II Sodoma Giulio Romano - Tiziano Sebastiano del Piombo II Pordenone - Giovanni da Udine Tintoretto Paolo Vero- nese Correggio B. Cellini Pierino del Vaga - Baroccio Alberto Durer Holbein Luke of Leyden Rubens Van Dyck. XVII Century. Guido Reni Domenichino Albano Lo Spa- gnoletto Guercino Salvator Rosa - - Borgognone - Luca Giordano Callot Poussin Murillo Velasquez. Sketch and Pastel Rooms & the Collection of small Portraits. The first of these two rooms originally contained the collection of paintings presented by the Marquis Paolo Feroni and since transferred to the Cenacolo di Foligno in Via Faenza ; in the second were exhibited the bronzes, now removed to the National Museum in this city. SKETCH AND PASTEL ROOMS 103 At present the halls contain all the drawings which were on view in one of the rooms of the Gallery of Ancient and Modern Art, many of them by Fra Bar- tolommeo, Baroccio, Allori, Raphael, Andrea and Poc- cetti, together with architectural and ornamental designs placed in frames around two of the columns, and a number of sketches taken from the store-rooms, includ- ing many by S. Rosa, Baroccio, Zuccheri, Parmigia- nino, Bassano, Tintoretto, Pinelli, Beccafumi, Vasari, Manetti, Sorri and Cigoli. In the second hall is be seen a collection of life-size portraits in pastel, many being by Giovanna Fratellini and some by Volterrano, a collection of small portraits of the highest interest and exceptional delicacy, and a number of miniatures among which are examples by Giulio Clovio and Ste- faneschi. Hall of Niolbe. 139. SUSTERMANS Just, of Antwerp. Born 1557, died in Flo- rence on april 21st 1631. The Florentine Senate swearing fidelity to Ferdi- nand II. (Authentic portraits). On canvas. Life size. 140. RUBENS Peter Paul, of Cologne. Born 1577, died in Ant- werp 1640. Henry IV at the battle of Ivry. A wonderful com- position and splendid execution although the painting is not finished. Both this picture and the other on the opposite wall (N. r 147) were executed to adorn the Luxembourg palace, in the celebrated series of paintings intended to represent all the principal episodes of the life of Henry IV, and Maria de' Medici. They were both brought from the Pitti Gallery in 1773. On canvas. Figures larger than life. 147. THE SAME. Entry of Henry IV into Paris, after his victory at Ivry. The execution of this painting is less imperfect than that of N. r 140, but it is probably not entirely by Rubens. The figures are above life size. On canvas. 104 PAINTINGS Hall of Baroccio. 154. BRONZING Angelo. A portrait of Lucretia dei Pucci, wife to Bartho- lemew Panciatichi. (See N. r 159). A half length, on wood. Life size. 211. SALAINO (or Salai) Andrea, of Milan, pupil of Leonardo da Vinci. The Holy Virgin and St. Anna, caressing the infant Jesus, who is plaing with a lamb. This painting is a diminutive copy of the celebrated one by Leonardo da Vinci existing in the Louvre Mu- seum, N. r 481. It was brought to this Gallery in 1743. On wood. 156. SODOMA (Bazzi Gio. Antonio, of Vercelli, called il). Born 1477, died at Siena 1549. Seizure of Christ by the soldiers. - - Half length, life size figures. On wood. 157. HONTHORST, called Gherardo del'.e Nitti. The Virgin, the infant Jesus, St. Joseph and two angels. A glory issuing from the figure of the holy Child, lights the whole scene, with an admirable effect. On canvas. Life size. This painting was taken from the Poggio Imperiale Villa, in 1796. 158. BRONZING Angelo, of Florence. B. 1502, d. 1572. Descent from the Cross; the holy Virgin receiving our Lord's body in her arms; St. John and several other personages. Some angels hover above the scene, bearing some emblems of the Passion. On wood. Life size. 159. THE SAME. Portrait of Bartholemew Panciatichi. - - On wood. Life size. See N. r 154. 181. LANFRANCO (or Lanfranchi) Giovanni. St. Peter, weeping. Half length. On wood. Life size. HALL OF BAKOCCIO 105 161. UNKNOWN. Portrait of a man. (Half length). On canvas. Life size. 199. UNKNOWN. - Flemish school. Portrait of the sculptor Francavilla. Half length. Life size. On wood. 3448. POURBUS Francis. Portrait of a young Princess. 163. SUSTERMANS Just. Portrait of Galileo Galilei ; the bust. On canvas. 164. POURBUS Francis. Portrait of the sculptor Francavilla. The head alone. On canvas. Life size. Brought to this Gallery in 1798. 165. DOLCI Carlo, of Florence. Born on may 25th 1616, died on January 17th 1687. The Virgin, the infant Jesus and St. Solomea, in the clouds, in the act of appearing to St. Louis Bishop of Toulouse, who is kneeling before the altar. A large painting made by commission of the Canon Bocchineri, for the church of St. Francis in Prato. On canvas. Life size. 172. BRONZING Angelo. Portrait of Eleonora da Toledo, the wife of Co- smus I, at whose right hand stands her son Ferdinand I. - Two thirds lenght. On wood. Life size. 183. CARLONE Andrea, of Genoa. Born 1639, died 1697. St. Mary Magdalene. A nudity half length. Life size. On canvas. 173. FRANCESCHINI Marc' Antonio, of Bologna. Born 1648. died 1729. Omnia vincit amor. Cupid in the act of throwing an arrow, and treading upon various emblematical objects. On canvas. Life size. 106 PAINTINGS 169. BAROCCIO (Fiori Federigo, called il) of Ui bino. Born 1528, died 1612. The Holy Virgin begging the Saviour to bless some pious noblemen, who are giving alms. This great composition so rich of fine figures, is known under the name of Madonna del Popolo, and was executed for the Fraternita of Arezzo, whence it was brought to this Gallery in 1787. It bears the name of the author, and the date 1579. On wood. Life size. 763. SUSTERMANS Just. The portrait of princess Claudia, the daughter of Ferdinand I de' Medici, and wife of the Archduke Leo- pold of Austria. Taken from the Royal Pitti Palace in 1861. 166. SOGL1ANI Gio. Antonio, of Florence. Born 1492, d. 1514. The Virgin, Child and St. John. On wood. Life size. 168. ARETUS1 Cesare, of Bologna. Born , died 1612. Portrait of John Aigemann; whose name is written on the painting itself: Johannes Aigemanus, Alemanm, anno aetatis LXXXJII, 1611. On wood. Life size. 174. LANFRANCHI (or Lanfranco) Cav. Giovanni di Stefano, of Parma. Born 1581, died 1647. St. Mary Magdalene, laying one hand on a skull. - On canvas. Half life size. 175. PIPPI Giulio, called Giulio Romano. Born at Rome 1499, died 1546. Portrait of Cardinal Accolti, of Arezzo. A dimin. fig. On wood. 176. DONDUCCI Gio. Andrea, of Bologna, called Mastelletta. Born 1575, died 1655. Charity. On wood. D. fig. 177. BELLINI Giovanni, of Venice. Born 1427, died 1516. Portrait of an old man". On wood. D. fig. 178. ALLORI Alessandro, of Florence. Born in 1535, died on September 23d 1607. The Samaritan. On canvas. D. fig. HALL OF BABOCCIO 107 179. ALLORI Alessandro. The marriage feast at Cana. A rich composition of many figures, which was made for the church of San- t'Agata in Florence. On wood. Life size. 180. RUBENS. Portrait of Helen Forman, the painter's second wife. On wood. Life size. 162. RENI Guide, of Bologna. Born 1575, died 1642. The Cum can Sybil, holding a sheet of paper on which is written : Nascetur de Virgine. One third lenght. Life size. On canvas. 205. ALLORI Alessandro. A portrait, supposed to be that of Torquato Tasso. Purchased in 1868. On canvas. Life size. 206 bis. MARATTA (or Maratti) Carlo, of Camerino in the Marca d'Ancona. Born 1625, died in Rome 1713. Head of the Saviour; in profile. On wood. Life size. 206. BAROCCIO (Federigo Fiori). Portrait of a young woman. On canvas. Life size. 185. DOUVEN cav. J. Francis. Portrait of Elisabeth Haurey, the daughter of Hau- rey, Baron of Hendrovich. Full length. On canvas. 184. AMERIGHI (or Morigi) Michelangelo, ofCaravaggio near Milan, called it Caravaggio. Born 1569, died at Porto Ercole in 1619. Christ among the Doctors. Half lengths. Life size. On canvas. 186. DOLCI Carlo. St. Mary Magdalene, holding the vessel of balm between her arms, crossed on her breast. On canvas. Half length. Life size. 192. SUSTERMANS Just. Portrait of a man dressed after the Swiss fashion. Half length. Life size. 108 PAINTINGS 198. BRONZING Angelo. Portrait of a young woman. Half length. Life size. On wood. 187. GUERCINO (Barbieri Gio. Francesco, called il). Born at Cento in 1591, died 1666. Head of St. Peter. Brought into the Gallery in 1862, from the Villa del Poggio Imperiale. On can- vas. Life size. 190. HONTHORST G., called Gherardo delle NoUi. The adoration of the Shepherds, with the Virgin and St. Joseph and hovering Angels. On wood. Life size. This splendid painting was formerly in St. Felicita church in Florence, and was brought into the Gallery in 1836, by concession of the Guicciardini family, to whom it belonged. 191. SAL VI Gio. Battista, called Sassoferrato, after the name of his native town. Born 1605, died 1685. The Virgin in sorrow. Half length. On canvas. Life size. Belonging to this Gallery since 1792. 3427. SUSTERMANS Just. Portrait of a young woman. Half length. On canvas. Life size. 193. ALLORI Alessandro. Portrait of Julian de' Medici, Duke of Nemours. Half length. Supposed to be a copy from Raphael. On wood. Life size. 160. CAMBIASO Luca, of Genoa. Born 1527, died 1585. The Virgin, holding the infant Saviour. On can- vas. Half length. 195. CARAVAGGIO. The Pharisee showing the piece of money to Christ. The same size of N. r 184. 196. VAN-DYCK Anthony. Born in Antwerp in 1599, died at Blackfriars near London 1641. Portrait of the Princess Margaret of Lorraine, the wife of Prince Gaston of France. Full length. Life size. On canvas. HALL OF BAROCCIO 109 144. VAN-DYCK Anlhony, of Antwerp. Born 1599, died 1641. A portrait supposed to represent the mother of Su- stermans. On canvas. Life size. 189. BECCAFUMI Dom^nico, of Siena, called il Mecherino. Born 1486, .lied 1551. Holy Family, painted on a round board. Half lengths. Half life size. Brought to the Gallery in 1795. 200. UNKNOWN. The portrait of an old man, and a statuette, repre- senting the Venus of the Medicis. On canvas. Life size. 182. MAZZUOLI Francesco, of Parma, called il Parmigiano. Born 1594, died at Casalmaggiore on august 24th 1640. Portrait of a Turkish Slave, holding a feather fan in her left hand, and wearing a turban on her head. 188. DEL SARTO Andrea, of Florence. Born 1487, died on January 22d 1531. Portrait of a woman in a blue dress, holding an open book. On wood. Half length. Life size. 201. UNKNOWN. A young man. On canvas. Life size. 202. UNKNOWN. The Virgin and Child. Half length. Life size. On canvas. Brought to this Gallery in 1862. 194. FRANCESCHINI Baldassanv, of Volterra, called il Vol- terrarto. Born 1611, died 1689. St. Peter. Half length. On canvas. Life size. 3399. RENI Gui.lo. Suzanne, surprised by the two old men. This painting was given to the Gallery by chev. Ar- thur de Noe Walker in 1895. 204. LUINI (or Lovini) Aurelio, the son of the celebrated Ber- nardino. Born at Luino on the Lago Maggiore in 1530, died 1590. The Virgin with the infant Jesns, St. Anna, St. Mar- garet, St. Mary Magdalene etc. On wood. Life size. This painting was brought into this Gallery in 1793. 110 PAINTINGS 213. BUGIARDINI Giuliano, of Florence, Born 1475, died 1554. The Virgin suckling her divine Son. A full length. - On wood. Life size. 208. BAROCCIO (Federigo Fiori). St. Francis, receiving the stigmata. - - On canvas. Life size. Brought to the Gallery in 1798. 1113. RENI Guido. The Holy Virgin in full face, looking up with her arms crossed on her breast. A half length. -- On canvas. Life size. 210. VELASQUEZ DE SILVA Don Diego, of Seville. Born in 1599, died 1660. Portrait of Philip IV King of Spain, on horse back. Three allegorical figures hovering above, are probably the work of another hand, as well as that of the at- tendant bearing the helmet, who stands in the lower corner of the painting, behind the principal figure. The tuscan celebrated sculptor Pietro Tacca is said to have modelled his equestrial statue of Philip IV, from this painting. -- On canvas. Life size. 3451. BUGIARDINI Giuliano. The Virgin with the Infant Jesus and little St. John. The Virgin kneeling, is holding by an arm the Holy Child standing on a rock and looking at little St. John who is kneeling near Her. On the back-ground of the painting there is to be read: Julianus Florentinus faciebat 1520. - On wood. Dim. fig. 212. BAROCCIO. Christ and the Magdalene. Brought into this Galle- ry in 1798. --On canvas. Half life size fig. 155. UNKNOWN. Tuscan school. Portrait of the benedectine monk Theophilus Folengo, better known under the name of Merlino Coccai, on account of his celebrated burlesque poem. A half length, life size figure, painted on wood. HALL OP BAEOCCIO 111 216. RUBENS Peter Paul. A bacchanal. Silenus in the middle of the painting, laying his right foot on the back of a tiger ; left and right of him are two children ; a Faun and a Bac- chante stand behind bearing bunches of grapes. Life size figui'es. On canvas. This painting was brought from Vienna, in 1793. 217. SEGHERS Gerard, of Antwerp. Born 1589, died 1651. The Conception. A large allegorical composition. The Holy Virgin bearing the Divine Child on her arms, lays her feet on three chained demons. Adam and Eve driven from Eden are seen at a distance. On can- vas. Life size. 167. BRONZING Angelo. Portrait of a woman, in a black dress, holding a cameo in her right hand. A statuette, behind the figure, on a table. On wood. Life size. 171. CARACCI Annibale, of Bologna. Born 1560, died 1609. A man laughing and holding a monkey on his Shoul- ders. A half length. On wood. Life size. Bought in 1793. 170. THE SAME. Portrait of a monk. (The bust). On canvas. Life size. 219. ROSSI Francesco, called Cecchin Salviati, of Florence. Christ bearing his cross. Half length. Life size. Brought from the Poggio Imperiale Villa in 1862. 214. LIPPI Lorenzo. Born 1606, died 1664. St. Catharine. Half length. An oval painting, on canvas. Life size. Discovered in the store-rooms of this Gallery in 1861. 218. LIPPI Lorenzo. St. Agatha. -- The same shape and size of N. 214. On canvas. Life size. 112 PAINTINGS 221. CARD1 Lodovico, of Cigoli near Florence, called il Cigoli. Born 1559, died 1613. St. Francis. Half lenght. On canvas. Life size. 220. SNYDERS (or Sneiders) Francis, of Antwerp. Born 1579, died 1657. The Boar Hunt. The boar is assailed by two hun- ters armed with pitch forks, and by a set of hounds, some of which have been repulsed and wounded. This painting is in a perfect state of preservation, and is one of the best works of this celebrated painter of animals. It was brought from Vienna in 1821. - On canvas. Life size. 222. ALBANO Francesco, of Bologna. Born 1578, died 1660. The infant Jesus in the midst of Angels who offer him the instruments of the Passion. A circular pain- ting. On canvas. D. fig. 223. FONTANA Lavinia. Born at Bologna in 1552, .lie,! 1614. Portrait of Father Panigarola, of Milan, a celebrated preacher. On canvas. Life size. 224. STROZZI Bernardo, called il Cappuccino Genovese. Born at Genoa in 1581, died at Venice in 1644. The Pharisee showing the piece of money to our Saviour. Four splendid tables of Florentine Mosaic in pietre dure are also in this room. They were executed in the old celebrated Florentine manufactury of mosaics (Via degli Alfani, in Florence). The one standing in the middle of the room is the finest. It was begun in 1613 by Jacopo Autelli, after the designs of Ligozzi, Poccetti and Del Bianco ; 22 artificers worked upon it during 25 years, and it costed 40,000 zequins. (About 448,000 francs). 113 Portraits of ancient and modern painters painted by themselves First and second Hall. This precious and unique collection of portraits of celebrated painters, painted by themselves, is principally owed to Cardinal Leopoldo de' Medici. He began by purchasing a great number of those which were in the Academy of S. Luca in Rome, and then he invited all the most famous painters of his time to send their portraits, still continuing to collect as many of the ancient ones as he succeeded in finding. Cosimo III de' Medici gathered them all in this room, about the year 1G81, and had the statue of his uncle, the Cardinal Leopoldo, erected here in a nich, as a monument of his munificence. This statue is by Gio. Battista Fog- gini, and the latin inscription on the base is by Henry Newton, who was then in Florence, as an ambassador from the English court to the Grand-Duke. This collection was then much enriched by Pietro Leopoldo of Lorraine who purchased a good number of such portraits from the Abbe Pazzi, and is still growing year by year, with those of the contemporary artists, whose celebrity makes them worthy of being admitted into this Pantheon. The order adopted in arranging these portraits is as follows : On the right wall and half of that opposite the en- trance door are the portraits of the native painters of south Italy; on the other half of that wall and on the left one are the portraits of painters from north Italy ; and finally on the same side as the door the portraits of old foreign artists are collected. The second hall chiefly contains the most recent por- traits, many of which represent artists still living, either foreign or italian. 1 14 PAINTINGS The most remarkable among the ancient ones, are those of Raffaello, Leonardo, Perugino, Andrea del Sarto, Masacdo (1), Michelangiolo, Guido Romano, the foun- ders of the Tuscan and Roman School, and Parmigia- nino, Giorgione, Tiziano, Paolo Veronese, Tintoretto, Bassano, Palma, Morone, etc.: the chief masters of the Lombard and Venetian School. The Bolognese School is also represented by its principal masters, as Domeni- chino, Guercino, the two Caracci, Primiticcio, Guido Reni, Albano, etc. Among the foreign old painters those worthiest of mention are : Albert Durer, Luke of Leyden, Holbein, Rubens, Van-Dyck, Rembrandt, Gerard Dow, Subster- mans, Bourguignon, Vivien, Liotard, Nanteuil, etc. The most interesting among the modern portraits of this collection are those of: Raphael Mengs, Batoni, Appiani, Reynolds, Angelica Hauffmann, Mme Lebrun, Overbeck, Gagneraux, Ingres, Benvenuti, Sabatelli, Bez- zuoli, Hayez, Malatesta, that of the celebrated sculptor Canova, also painted by himself, and those of Zorn, Lehman, Hamon, Cabanel, Amerling, Hebert, Millay, Watson, Laurent, Canevari, Ussi, Ciseri, Mussini, Cas- sioli, Heyden, Leighton, Millais, Nani, etc., many of whom are still living. Alphabetical Catalogue of the Portraits of Painters, painted by themselves. 624. Acqua (Dell') Caesar. 458. Agar James, of Paris, b. 1640, d. 1716. .... Americo Pietro, of Brazil (still living). ^40. Aikmann William, of England, b, 1682, d. 1731. 443 Aivasovski John. 441. Albano Francis, of Bologna, b. 1578, d. 1660. 331. Albert! Cherubino, of Borgo San Sepolcro in Tuscany, b. 1553, d. 1615. (1) This portrait is now however believed to be that of Filip- pino Lippi. See Vasari, Ed. Le Monnier, 1848; Vita di Ma- saccio, Commentario, T. Ill, pag. 167. PORTRAITS OF PAINTERS 115 332. Albert! Giovanni, of Borgo San Sepolcro, b. 1558, d. 1601. 269. Allori Alessandro, of Firenze, b 1535, d. 1607. 263. Allori Cristoforo, of Firenze, b. October 17th 1577, b. 1621. 299. Alois! B:ildassarre, of Bologna, b. 1577, d. 1638. 379. Amerighi Michelangelo, of Caravaggio in Lombardy, called II Caravaggio, b. 1569, d. 1609 513. Amerling Frederic, born in Vienna in 1803. 659. Amistani Luigi. 685. Amor Salvatore. of Danzica. 342. Angelis (De) Filippo, of Napoli, b. 1600, d 1660. 400. Anguissola Sofonisba, of Cremona, born about the year 1530, died 1620. 561. Appiani Andrea, of Milano, b. 1754, d. 1817. 639. Arienti Carlo. 656. Arizzarra Teresa. 568. Arland James, a French artist. The portrait has been painted in 1778. 295. Arpino (See Cesari). 625. Bache Otto, Danimark (still living). 667. Bacherelli Vincenzo (17(35). 404. Baciccio (See Gaulli). 926. Baker (De) Francis, a Flemish artist. Date of the por- trait 1721, 329. Balassi Mario, of Firenze, b. 1604, d. 1667. 351. Baldacci Maria Maddalena, of Firenze, d. 1782. 490. Baldrighi Giuseppe, of Pavia, b. 1723, d. 1802. 405. Balestra Antonio, of Verona, b. 1666, d. 1740. 306 Bandinelli Baccio, Florentin painter and sculptor, b. 1493, d. 1559. 706. Barabino Niccol6 (of Geneva) b. 1832, d. 1891. Unfi- nished on account of the Painter. 356. Barbarelli Giorgio, called Giorgione, of Castelfranco, near Treviso, b. 1478, d. 1511. 312. Barbatelli Bernardo, called Bernardino Poccetti, of Firenze, b 1542, d. 1612. 396. Barbieri John Francis, of Cento, called II Guercino, b. 1591, d. 1666. 326. Barocci Federigo (called Baroccio or Fiori d' Urbino). b. 1528, d. 1612. 395. Bassano (See Ponte). 534. Batoni Pompeo, of Lucca, b. 1708, d. 1787. 282. Bazzi Giovanni Antonio, of Vercelli, called II Sodoma, b. 1477, d. 1549. 310. Beccafumi Domenico, of Siena, called II Mecherino, d. 1486, d. 1551. 116 PAINTINGS 231. Bel (Le) Jean-Baptista, a Flemish painter. XVIIth cen- tury. 354. Bellino Giovanni, of Venezia, b. 1427, d. 1516. 418. Bellotti Pietro, of Volzano, b. 1627, d. 1270. 427. Belluoci Antonio, of Venezia, b 1648, d. 1726. 717. Benczur Giulio, of Nyiregyhara (Ungary). 386. Benefial Marco, of Roma, b. 1684,* d. 1764. 704. Benwel Mary, of England, date 1779. 548. Benvenuti Pietro, of Arezzo, b. 1769, d. 1844. 272. Bernini Giovan Lorenzo, of Napoli, b. 1598, d. 1680. 631. Bertrand James (still living). 294. Berrettini Pietro, of Cortona, b. 1596, d. 1669. 664. Bettini Antonio, of Firenze, 1772. 522. Bezzuoli Giuseppe, of Firenze, b. 1784. d. 1855. 503. Bimbi Bartolommeo, of Firenze, b. 1648, d. 1725. 532. Biscarra Giovanni, of Torino, d. 1851. 720. Bisschop Christophan, of Holland (still living). 248. Bizzelli Giovanni, of Firenze, b. 1556, d. 1612. 610. Bles David, Hollandes (still living). 446. Bloemart Abraham, of Dordrecht, b. 1567, d. 1647. 590. Bloch Carl, Danimark (still living). 628. Boare, of England. 364. Boccaccini Camillo, of Cremona, b. 1460? d. 1518? 321. Bocciardi Clemente, of Genova, b. 1620, d. 1658. 708. Boldini John (still living). 410. Bombelli Sebastiano, of Udine, b. 1635, d. 1685. 253. Bonito Cav. Giuseppe, of Napoli, 1789. 594. Bonnat Leon, a French painter (still living). 350. Borgianni Orazio, a Roman painter, 1630. 264. Boscoli Andrea, of Firenze, b. 1553, d. 1606. 559. Bossi Giuseppe, of Milano, b. 1776, d. 1815. 491. Bottani Giuseppe, of Cremona, b. 1717, d. 1784. 297. Botti Francesco, of Firenze, XVIIth century. 508. Botti Scifoni Ida, of Roma, b. 1812, d. 1844 557. Bouchardon Edmond, a French painter, born about 1698, d. 1762. 721. Bouguereau William, of France (still living). 537. Brach (See Vander Brach). 434. Breckberg Job, of Harlem, also called Berhheyden, b. 1637, d. 1698. 341. Briglia Giovan Francesco, of Firenze, b. 1737. 575. Breton Jules, of France (still living). 679. Brioschi Vincenzo, of Firenze. 511. Brokedon William, of England. Date of the por- trait 1822. 485. Brun(Le) Charles, of Paris, b. 1619, d. 1690. (Signed: C. LE BRVN D r PEINTRE DU ROY TRES CHRESTIEN). PORTRAITS OP PAINTERS 117 549. Brun (Le) Mme Vigee, Elisabeth Louise, of Paris, b. 1755, d. 1842. 4 1 2. Brusacorci Domenico (See Riccio). 285. Buonaccorsi Pietro, called Pierin del Vaga, of Fi- renze, b. 1499, d. 1547. 290. Buonarroti Michelangiolo b 1475, d. 1564 (This portrait is not painted by Michsel-Angel but it be- longs to his school). 271. Buontalenti Bernardo, of Firenze, b 1536, d. 1608. 530. Burino Antonio, of Bologna, b. 1656, d. 1727'. 613. Cabanel Alex., of Paris (still living). 427. Caccianiga Francis, of Milano, b. 1700, d. 1781. 398. Cairo Francis, of Milano, b. 1598, d. 1674. 385. Caliari Paolo, called Paolo Veronese, b. 1528, d. 1588. 512. Callot Jaques, of Nancy, b. 1594, d. 163b. 387. Cambiaso Luca, of Geneva, b. 1527. d. 15H5. 487. Campiglia Gio. Domenico, of Lucca, b. 1692 (date of the portrait 1712). 424. Campi Galeazzo, of Cremona, b. 1475, d. 1586. 566. Canevari Gio. Battista, born a Geneva, 1791 (date of the portrait 1864) still living. 573. Canova Antonio, of Possagno near Treviso ; a sculptor and painter, b. 1757, d. 1822 (date of the portr. 1792). 374. Caracci Annibal, of Bologna, b. 1560, d. 1609. 380. Another portrait of the same. 450. Another portrait of the same. 348. Caracci Asrostino, of Bologna, b. 1558, d. 1601. 891. The same. 368. Caraoci Antony, of Bologna, b. 1583, d. 1618. 262. Caracci Francis, of Bologna, b. 1559, d. 1622. 397. Caracci Ludovic, of Bologna, b. 1555, d. 1619. 379. Caravaggio (See Amerighi). 298. Cardi Ludovico, called II Cigoli, from the name of his native place near Firenze. Born on September 12th 1559, d. 1613. 363. Carriera Rosalba, of Venezia, b. 1675, d. 1757. 674. Casini Giovanni, of Firenze (1748). 338. Casolani Alexander, of Siena, b. 1552, d. 1606. (To- gether are the portraits of Lucretia Piccolomini, Ventura Salirnbeni and Francis Vanni). 353. Cassana Gio. Francesco, of Genova, b. 1611, d. 1691. 883. Cassana G. Agostino, id., b. 1658, d. 1720. 414. Cassana Niccol6, born at Venezia in 1659, d. 1713. 617. Cassioli Cav. Prof. Amos, of Siena, d. 1892. 477. Castiglione G. Benedetto, of Geneva, b. 1616, d. 1670. 573. Cavalieri Ferdinando, of Torino, b. 1795 (date of the portrait 1829. 118 PAINTINGS 367. Cavedone Jacob, of Sassuolo in Lombardy, b. 1577, d. 1660. 654. Cerroti Violante. 295. Cesari Cav. Giuseppe, of Arpino, b. 1560, d. 1640. 583. Chenavard Paul, of France (still living). 243. Chiari Giuseppe, of Roma, b. 1654, d. 1727. 344. Chiavistelli Jacopo, of Firenze, b. 1621, d. 1698. 274. Chimenti Jacopo, of Empoli, called L'Empoli, b. 1551, d. 1640. 695. Ciabilli Giovanni, of Firenze, d. 1740. 366. Cignani Carlo, of Bologna, b. 1628, d. 1719. 298. Cigoli (See Cardi). 668. Cinqui Giovanni. 543. Cipriani Gio. Battista, of Pistoia, b. 1732, d. 1785. 612. Ciseri Prof. Antonio, d. 1890. 619. Clarke James Hooh, of England. 719. Cluysenaar Alfred, of Bruxelles (still living). 518. Colignon Joseph, of Firenze (date of the portrait 1840). 635. Colonna, Duchessa of Castiglione. 429. Colonna Michelangelo, of Como, b. 1600, d. 1687. 256. Comodi Andrew, of Firenze, b. 1560, d. 1638. 554. Conca Sebastiano, of Gaeta, b. 1676, d. 1764, 527. Costantin John Antony, of Geneve; painted in 1824, (enamel on porcelaine). 428. Contarini John, of Venezia, b. 1549, d. 1605. 493. Conti Francis, of Firenze, painted in 1760. 317. Coppi Jacob, of Firenze, called Di Meglio, b. 1523, d. 1591. 628. Corot (J. B. Carnille), born on July 29th, died on febr. 22d 1875. 690. Corvi Dominic, of Rome, 1786. 528. Costoli Aristodemo, a Florentine sculptor and painter, b 1803, d. on July 22d. 1871. 630. Couder L. C. Aug., 'of Paris, painted in 1870 at the age of 81. 643. Counis William, of Genova, b. 1785, d. 1859. 698. Counis Elisa, of Firenze, b 1812. d. 1848. 478. Courtois or Cortesi Jacob, of Sainte-Hippolythe (Fran- che-Comte) called II Borgognone, b. 1628, d. 1679. 542. Coypel Anthony, of Paris, b. 1661, d. 1722 419. Crespi Daniel, of Milano, b. 1580 circa, d. 1630. 394. Crespi Joseph Maria, of Bologna, b. 1665, d. 1747. 281. Cresti Dominic, of Passignano near Firenze, called // Passignano, b. 1560, d. 163b. 301. Curradi Cav. Francis, of Firenze. born in 1570, d. 1661. 308. Dandini Peter, of Firenze, b. 1646, d. 1702. 713. David James, of Paris. PORTRAITS OF PAINTERS 119 627. Deveria Eugene, of Paris, b. 1805. 660. De Cam James, of Feltre, 1791. 668 De Clain Pasquale, painted 1778. 641. De Sanctis Guglielmo, of Roma, still living. 683. Diotti Joseph, of Casal Maggiore, painted in 1821. 262 Dolci Charles, of Firenze, born on may 25th 1616, d. 1681. 402. Domenichino (See Zampieri). 889. Dossi Dosso, of Ferrara, b. 1479, d. 1542. 437. Douwen John Francis, of Ruremond, b. 1656, d, 1727. 449. Dou or Dov Gerard, of Leyden, b. 1613, d. 1680. Si- gned : G. DOV, 1680. 439. Durer Albert, of Nuremberg, b. 1471, d. 1523. It bears the usual cypher of the author with the date 1498, and a german inscription attesting that he painted his own portrait at the age of 26. (Baldinucci, t. IV, pag. 116). 228. Dyck (Van) Anthony, born in Antwerp in 1509, d. 1641. 433. Elzheimer Adam, of Frankfort, b. 1574, d. 1620. 274. Empoli (See Chimenti). 388. Facini or Faocini Peter, of Bologna, b. 1560, d. 1602. 700. Fagnani Joseph, born at Napoli 1819, died at New- York, 1873. 438. Fanti Vincent, of Vienna, painted in 1750. 718. Fantin Latour Henry, of Grenoble (still living). 606. Farina Achilles, (still living). 411. Favray or Fauray Anthony, of France, born in 1706, died in 1789 circa. 484. Fedi Anthony, of Firenze, b. 1771, d. 1843. 541. Feltre (Morto da) b. 1485, d. about the year 1519. 502. Ferrari Luke, of Reggio, p. 1652. 302. Ferretti Gio. Domenico, of Firenze, b 1692. 276. Ferri Cyrus, of Roma, b. 1634, d. 1689. 335. Ferri riesualdo, of S. Miniato. 519. Fidani Orazio, of Firenze, painted in 1656. 326. Fieri (See Barocci). 520. Flandrin Hyppolytus, born at Lyon 1809, d. 1864. 361. Fontana Laviriia," of Bologna, b." 1552. d. 1614. 369. Foraboseo Jerome, of Venezia who lived in 1660. 586. Fran9ais Francesco Luigi, b. 1814. 304. Franceschini Baldassarre, of Volterra, called // Vol- terrano, b. 1611, d. 1689. 413. Franceschini Marc- Anthony, of Bologna, born 1648, dead in 1729. 241. Franck or Francken Francis, junior, of Antwerp, b. 1581, d. 1642. 120 PAINTINGS 273. Franchi Anthony, of Lucca, b, 1634, d. 1709. 564. Frascheri Giuseppe, of Savona (still living). 533. Fratellini Marmocchini Cortesi Giovanna, of Firenze, b. in 1666, d. 1731. 665. Fratellini Rosalba. 318. Furini Francesco, of Firenze, called 11 Furino, b. 1600 circa, d. 1640. 257. Gabbiani Anton Domenico, of Firenze, b. 1652, d. 1722. (Signed : ADG. 1686. 677. Gabbiani Gio. Domenico. 470. Gagneraux Benedict, of Dijon, b. 1763, d. 1795. (Given to tho Gallery by the pafnter M. Sabatino Levi). 399. Galanino (See Aloisi). 319. Galantini Father Hyppolitus, of Geneva, b. 1627, d. 1706. 311. Galletti Father Filippo Maria, of Firenze, b. 1664, d. 1742. 261. Gambaccini Francis, of Roma. 642. Gauffens Goffredo, of Belgique, (still living). 404. Gaulli Gio Battista. of Geneva, called Baciccio, b. 1039, d. 1709. 582. Gebhardt von E., of Prussie. 430 Gennari Benedict, of Cento, b. 1633, d. 1715. 583. Ghenavard Paul, of Alsazien (still living). 507. Gherardini Alexander, of Firenze, b. 1655, d. 1723. 506. Gherardini Thomas, of Firenze, b. 1715, d. 1797. 296. Ghezzi Pier Leone, of Roma, b 1674, d. 175.\ 275. Giordano Luoa, of Napoli, called Luca fa' presto, b. 1632, d. 1705. 356. Giorgione (See Barbarelli). 712. Giron Charles (still living). 595. Gordigiani Cav. Prof. Michele (still living). 653. Gouttebrun Lewis, of Germany, painted in 1782. 688. Grassi Joseph, 1762. 657. Grati Gio. Battista, 1756. 502. Greys (De) Father Benedict, of Livorno. A pen and ink drawing : 1753. 515. Grisoni Joseph, of Firenze, d. 1769. 684. Grund Gio. Giacomo, of Anspach, 1791. 687. Gualdi Antonio, of Guastalla, b. 1796, d. 1865. 396. Guercino (See Barbieri). 300. Hamilton. 518. Hamon John Louis, b. a Plouha (France) in 1821, d. 1874. 568. Harlow George Henry, of England. Paint 1818, d. 1820. 523. Hayez Francis, of Venezia, painted in 1683. 705. Healy G. P. A., born at Boston in 1813 (still living). PORTRAITS OF PAINTERS 121 453. Healst (Van der) Bartholemew, b. at Harlem? in 1613? d. at Amsterdam in 1670. 707. Hellquist Charles Gustave. of Awedin ^still living). 618. Henner Jean, of Alsazien (still living) 611. Herbert Ernest, of Paris (still living). 604. Heyden Otto, b. 1820 in Pomerania (Prussia), still living. 538. Heyter George, of England, b. 1793. 680. HickelS Joseph, of Boemia, F. 1769: 498. Hoare Prince, of England, painted in 1870. 232. Holbein John, junior, born at Augsbouvg, in 1497, died at London in 1543. Inscribed : JOANNES HOL- PENIVS BASILEENSIS SVI IPSIUS EFF1GIATOR AE. XLV. 441. Honthorst Gerard, of Utrecht, called Gherardo delle Notti, b. 1592, d. 1660. 531. Ingres John August, of Paris, b. 1783; signed: I. A. D. INGRES PICTOR GALLICUS SE IPSIUS P.*T ANNO JETATIS LXXV. MDCCCXLVIII. 629. Isola Giuseppe, of Geneva (still living). 238. Jordaens James, of Antwerp, b. 1593, d. 1678. 469. Jouvenet Francis, b. at Rouen 1665 circa, d. at Paris in 1749. 471. Kaufi'mann Angelica, b. at Bregentz in Switzerland in 1741, d. at Roma in 1807. 640. Keller Ferdinando, of Baden (still living). 692. Kiprensky Oreste, of St. Petersbourg, painted 1820. 220. Klockner or Kloheer David, of Hambourg, b. 1629, d. 1698. 516. Kneller Godfrey, of Lubeck, b. 1648, d. 1726. 418. Koninck or Koning Philip, b. at Amsterdam in 1619, d. 1689. 224. Kranac or Cranach Luke, of Cranach, b. 1472, d. 1553. 605. Kroyer Peter Severin, still living. 581. Kunelaki Nicholas. 234. Laer Peter, called II Bamboccio, b. near Naarden (in Holland) in 1613, d. 1675 circa. 600. Laighton Prof. Fried., president of the Royal Academy in London. 552. Lami Vincent (still living). 569. Landi Gaspar, of Piacenza, b. 1756, d 1830 409. Lanfranco John, of Parma, b, 1581, d. 1647. 245. Lapi Nicholas, of Firenze, b. 1661, d. 1732. 473. Largilliere (De) Nicolas, of Paris, b. 1661, d. 1746. 621. Laurent Paul, painted in 1876 (still living) 423. Legnani Stefano Maria, of Milano, called II Legnd- nino, b. 1660, d. 1715. 122 PAINTINGS 578. Lehmann Henry, of Paris, b. 1814 (still living). 447. Leisman John Anthony, of Salisbourg, b. 1604, d. 1698. 230. Lely Peter, of Westphalia, b. 1617, d. 1680. 590. Lenepveu I. E., a French artist, still living, painted in 1877. . 375. Liberi Cav. Pietro, of Parma, b. 1605, d. 1687. 373. Licinio or Regillo Gio Antonio, of Pordenone, b. 1484, d 1540. 246 Ligozzi Jacopo, of Verona, b. 1543, d. 1627. 535. Liotard Ernest, of Geneve, painted, 1744. 286. Lippi Filippino, of Firenze, b 1457, d. 1504. 283. Lippi Lorenzo, of Firenze, b. 1606, d. 1664. 229 Loth Charles, of Munchen, b. 1611, d. 1698. 577. Lowenthal Emil, of Prussia (still living). 444. Luca d'Olanda, of Leyden, b. 1494, d. 1533. - Se- nator Morelli thinks it to be an old copy of a por- trait of Bernardino de Conti of Pavia (pag. 423). 250. Luti Benedict, of Firenze, b. 1666, d. 1724. 702. Macpherson Joseph, 1778. 320. Maganza Gio. Battista (junior), of Vicenza, b. 1577. d. 1717. Signed: Gio. BATTISTA MAGANZA. 563. Malatesta Adeodato, of Modena, painted in 1846. 570. Mancinelli Giuseppe, of Napoli (still living). 353. Manetti Rutilio, of Siena, b. 1572, d. 1639. 305. Mannozzi Giovanni, of San Giovanni (Val d' Arno), called Giovanni da San Giovanni, b. 1590, d. 1636. 323. Manzuoli Tommaso, of Firenze, b 1536. d. oct. 2d 1571. 266 Maratta Carlo, b. at Camerino near Ancona in 1625, d. 1713. 313 Marinari Onorio, of Firenze, b. 1627, d. 1715. 602. Marko Prof. Carlo, of Lenthschan, b. 1793, d. 1860. 533. Marmocchini Cortesi (See Fratellini). 672. Maro Giuseppe, of Torino, f. 1750. 483. Maron Anthony, of Vienna, painted 1787; b. 1733, d 1808. 562. Marteau, of France, painted 1726. 253 Marucelli Gio Stefano, of Firenze, b. 1586, d. 1646. 681. Mary Antonietta, Princess of Baviera. 651. Masini Antonio. 673 Masini Giuseppe, of Firenze, d. 1736. 499. Mazzanti Cav. Lodovico, of Orvieto, 1760. 662. Mazzi Taddeo 381. Mazzucchelli Pier Francesco, of Lombardy, called 11 Morazzone, b. 1571, d. 1626. 386. Mazzuoli or Mazzuola F.ancesco, of Parma, called 11 Parmigianino, b. 1503, d. 1540. PORTRAITS OF PAINTERS 123 415. Mazzuoli Giuseppe, of Ferrara, d. 1586. Signed: Giu. MAZZUOLI SB DIPINSE, 15.. 4. 349. Medici Piero, of Firenze, b. 1586, d 1648. 466. Medina Chev. Jean Baptiste, of Bruxelles, born 1660, d. in 1711. 236. Mehus Lyvius, of Oudenarde, b. 1630, d. 1691. Menageot Francis, of France, b. 1744, painted in 1797, d. 1816. 555. Mengs Chev. Antoine Raphael, of Aussig, in Bohemia, b. 1728, d. 1816. 634. Mensi Francesco, of Genova, 1873. 509. Messini Ferdinando, of Firenze, d. 1750. 303. Meucci Vincenzo, of Firenze, b. 1694, d. 1770. 443. Meylens or Mayden Martin, of Stokolm, b. 1696, d. 1770. 237. Metsys Quentin, b. at Louvain in 1466, d at Antwerp in 1530. A portrait of his wife, bearing the date 1520, is seen on the reverse ef this painting. 316 The same, in a diminutive size. 496. Middleton Goodsall, of England (still living). 222. Miel John, of Antwerp, b. 1599, d. 1665 455. Mieris (Van) Francis, of Leyden, b. 1689, d. 1763. Purchased by Cosmus III de 1 Medici. 588. Millais, of England (still living). 382. Mola Pier Francesco, b. at Coldre near Como in 1612, d at Rome in 1668. 504. Monari Cristofano, of Reggio, painted 1717. 346. Monti Francesco, of Bologna, b 1685, d. 1768. 462. Moro Anthony, of Utrecht, b. 1512, d. 1581. Bearing the signature : Ant. Morus Philippi Hisp. Reg. Pic- tor sua ipse depictus manu i558. 239. Moor Charles, of Leyden, b. 1656, d. 1738. 255. Morandi Gio. Maria", of Firenze, b. 1622, d. 1717. 523. More Jacob, of England, 1773. 658. Morghen Giovanni Elia, painted 1730. 259. Moro (Del), of Firenze, d. 1725. 360. Moroni Gio. Battista, of Albino, called Morone, b. about 1510, d. 1578. 538. Morto (See Feltre da). 252. Muller or Muller or also Molyn Peter, of Harlem, called 11 Cav. Tempesta, b, 1637, d. 1701. 465 Murray Thomas, of Scotland, b. 1666, d. 1724. 347. Musscher Michael, of Rotterdam, b. 1646, d. 1705. Signed : M. H. V. Musscher se Ipsum Pinxit. JEiat 46. 1692. 534. Mussini Cesare, of Firenze, painted in 1873, d. 1879. 539. Mussini Luigi, of Firenze, (still living). 124 PAINTINGS 609. Nani Cav. Prof. Napoleone, President of the Accade- mia dei Pittori e degli Scultori, at Verona, (still living). 536. Nanteuil Robert, of Reims, b. 1630, d. 1678. 492. Nannetti Nicola, of Firenze, b 1675, d. 1749. 500. Nasini Antonio, of Siena, painted in 1716. 468. Natoire Charles, of France, b 1700, d. 1777. 521. Nebbia Cesare, of Orvieto, d. 1611. 457. Neer (Aart Van Der), b. at Amsterdam in 1619, d. 1683. 646. Nef Timoleone. 494. Nortchote James, of Plymouth, painted in 1778. 598. Novy (Count de) of France (still living). 574. Nuzzi Marias, called Mario dei Fiori, of Penna, near Fermo, b. 1603, d. 1673. 715. Orchardmen W. Q. (still living). 343. Ortolan! Damon Gio. Battista, of Roma, painted in 1879. 518. Overbook Frederic, of Lubech, b. 1790. 284. Pagani Gregorio, of Firenze, b. 1550, d 1605. 505. Paggi Gio. Battista, of Geneva, b. 1559, d. 1627. 420. Paglia Francis, of Brescia, b. 1636, d. about 1770. 592. Pagliano Eleuterio, of Milano, paint. 1891 (st. living). 545 Paladini Arcangiola, of Pistoia, b. 1599, d. 1662. 565. Palagi Pelagio, of Bologna, b. 1775, d 1860. 614. Palizzi Filippo, of Napoli (still living) 372. Palma Jacob (junior), of Venezia, b. 1544, d. 1628. 689. Panti Romolo, of Pistoia, d. 1703. 322. Paolini Pietro, of Itucca, d. 1632. 385. Paolo Veronese (See Caliari). 386. Parmigiani (See Mazzuoli). 421. Parodi Dominic, of Geneva, b, 1688, d. 1740. 622. Parrodin E., of France (still living) 576. Pasini Alberto, of Napoli (still living) 324. Passeri Giuseppe, of Roma, b. 1634, d. 1714. 370. Passerotti Bartolornmeo, of Bologna; who flourished about 1578. 406. Passerotti Ventura, of Bologna, b. 1533, d. 1593. 377. Passerotti Tiburzio, of Bologna, d 1612. 281. Passignano (See Cresti). 516. Patania Giuseppe, of Palermo, b. 1780, d. 1852. 546. Pazzi Abate Antonio, of Firenze, b. 1706. 591. Pedro Amerigo, 1877. 357. Pellegrini Pellegrino (See Tibaldi). 416 Pellegrini Antonio, of Padua, b. 1675, d. 1741. 436. Pencz George, of Nuremberg, b. 1500, d. 1550. 529. Perrounet Briggs Henry, of England, d. 1844. 287. Perugino (See Vannucci). POBTBAITS OF PAINTERS 125 660. Pertichi Pietro, painted 1730. 636. Peterssen Elif, of Kristiania (still living). 242. Petrazzi Astolfo, of Siena, b. 1579, d. 1653. 652. Petrueci Francesco, painted 1730. 524. Piattoli Anna, of Firenze, d. 1788 255 Piattoli Gaetano, of Firenze, d. 1774. 697. Pierotti Pierotto, of Castelnuovo in Garfagnana. 358. Pignoni Simone, of Firenze, b. 1614, d 1706. 661. Pinacei Giuseppe, of Siena, d. 1718. 289. Pippi Giulio, of Roma, called Giulio Romano, b. 1499, d. 1546 312. Poccetti (See Barbatelli). 603. Podesti Francesco, painted 1829. 481. Poerson (De) Charles, of Paris, b. 1652, d. 1725. 401. Ponte (Da) lacopo, of Bassano, called 11 Bassano, b. 1510, d. 1592. 407. Ponte (Da) Francesco, id. 1558, d. 1592. 395. Ponte (Da) Leandro, id , b 1558, d. 1623. 373. Pordenone (See Sacchiense) 550. Porporati Carlo, of Torino, b. 1740. d. 1790. 445. Pourbus Francis, of Antwerp, b. 1542, d. 1622. Signed: Francesco Pourbus 1591 JEtati suce 49. 623. Poynter J. Edward, of England (still living). 334. Pozzo Andrea, of Trento (a Jesuite), b. 1642, d. 1709. 699. Preller Frederic, of Weimar (still living). 352. Pressler John Justin, of Nuremberg, b. 1698, d. 1771. 267. Preti (De) Mattia, of Calabria, b. 1613, d. 1699. 551. Preziado Francis, of Seville, b. 1713, d. 1789. 431. Primaticcio Francesco, of Bologna, b. 1540, d. 1570 392. Procaccini Giulio Cesare, of Bologna, b. about the year 1548, d. about 1626. 599. Puvis de Chavannes P., of France. 482. Quadal Marius, of Moravia, painted 1685. 288. Baffaello (See Sanzio). 260. RamengM Bartolommeo, called II Bagnacavallo, b. 1484, d 1542. 636. Bapisardi Michael, of Palermo, b. 1822, d. 1886. 292. Bazzi Gio. Antonio, of Vercelli (See Bazzi) or Sodoma. 314. Redi Tommaso, of Firenze, b. 1665, d. 1726. 451. Rembrandt Nan Ryn, of Leyden, b. 1606, d. 1669. 452. The Same. 403. Beni Guido, of Bologna, b 1575, d. 1642. 333. Besani Arcangelo, of Roma, who flourished in 1718. 540. Beynolds Cav. Joshua, of England, b. 1723, d. 1792, painted in 1775. 244. Bibera Giuseppe, of Gallipoli, called Lo Spagnoletto, b. 1583, d. 1656. 126 PAINTINGS 601. Bibbing (De) Sopha, of Swede, painted in 1875 (still living). 432. Bicci or Rizzi Sebastiano, of Belluno, b. 1662, d. 1734. 345. Bicciolini Michelangelo, Of Todi, b. 1654, d. 1715. 714. Bichmont George. 607. Bichter Gustavos, born at Berlino on august 3d 1823, died on april 3d 1884. 422. Bidolfi Claudio, of Verona, b. 1560, d. 1644. . 474. Bigaud Hyacinthe, of Perpignano, b. 1659, d. 1743. 265. Biminaldi Orazio, of Pisa, b. 1598 d. 1631. 480 Biviere Francis, of Paris, d. 1725. 412. Bizzo Domenico, of Verona, called Brusasorci, b. 1494, d. 1567. 644. Bobert Fleury, of France (still living). 111. Bobie John, of Bruxelles (still living). 378. Bobusti lacopo, of Venezia, called // Tintoretto, b. 1512, d. 1594. 365. Bobusti Marietta, Tintoretto's daughter, born in 1560, d. 1590 247. Boncalli Cristofano, of Pomarance in Tuscany, b. 1552, d. 1626 293. Bosa Salvatore, of Napoli, b. 1615, d. 1673. 293b'. The same 225. Bosa or Ros John, of Antwerp, b. 1631, d. 1685. 595 Bosen (Von) George, of Stockholm, painted, in 1811. 649. Bosi Alessandro, of Firenze, d. 1700. 517. Boslin Alexander, of Stockholm, b. 1733?, died 1793. Painted in 1790. 278. Bosselli Matteo, of Firenze, b. 1578, d. 1650. 269. Bossi Francesco, of Firenze, called Cecchino Salviati, b. 1510, d. 1563. 547. Botari Count Peter, of Verona, b. 1707, d. 1762. 228. Bubens Peter Paul, b. 1577, d. at Antwerp 1640. 233. The same. 514. Bubio Cav. Prof. Luigi (still living) 580. Sabatelli Giuseppe, of Firenze, b. 1810, d. 1848. 558. Sabatelli Luigi, of Firenze, 1772, d. 1850. 373. Saechiense Gio. Antonio, called If Pordenone, born in Friuli in 1483, d. 1540. 676. Sagrestani Gio. Cammillo, of Firenze, d. 1731. 587. Salghetti Prioli Francesco, of Zara, 1877. 315. Salimbeni Ventura, of Siena, b. 1557, d. 1613. 340. Salvi Gio. Battista, of Sasso Ferrato near Urbino, called // Sasso-Ferrato, b. 1605, d. 1P85. 268. Salviati (See Rossi Francesco). 467. Sandrart Joachim, of Francfort, b. 1606. d. 1683. 277. Santi di Tito (See Titi). PORTRAITS OP PAINTERS 127 648. Santi Pietro. 288. Sanzio or Santi Raffaello, of Urbino, b. 1483, d. 15m (See Pelli, Saggio, etc , t. I, p. 243). 280. Sarto (Del) Andrea (Andrea Vannucchi), of Firenze, b. 1487, d. 1531 (See Vasari, t. VIII, p. 287). 340. Sasso-Ferrato (^ee Salvi). 435. Schalcken Godfrey, of Dordrecht, b. 1643, d. 1706. 376. Schiavone Andrea, of Sebenico, b. 1522, d. 1582. 626. Schmid Prof. Charles Fred. Louis, of Stettin in Prus- sia, b. 1799. 235. Schonjans Anthony, of Antwerp, b. 1655, d. 1694. 461. Schwartz Christopher, of Ingolstadt, b. 1550, d. 1594. 716. Schwartze Terese, of Amsterdam. 327. Scorza Sinibaldo, of Geneva, b. 1589, d. 1631. 459. Servolini Giuseppe, of Firenze. 605. Severin (See Kroyer) Peter, Danimarck (still living). 454. Sevin Claudius, of Bruxelles, d. 1776. 221. Seybolt Christian, of Althenaer, b. 1697, d. 1768. 339. Sirani Gio. Andrea, of Bologna, b. 1610, d. 1670. 328. Siries Violante, of Firenze, d. 1783. 282. Sodoma (See Bazzi). 551. Sogni Giuseppe, of Milano (still living). 417. Sole (Del) Giuseppe, of Bologna, b. 1654, d. 1719. 337. Solimena Francesco, of Nocera near Napoli, b. 1657, d. 1747. 678. Sorbi Giovanni, of Siena, painted 1733. 251. Sorri Pietro, of Siena, b. 1556, d. 1622. 390. Spada Leonello, of Bologna, b. 1576, d. 1622. 244. Spagnoletto (See Ribera). 475. Sparvier Peter, of France, b. 1660, d. 1731. 309. Stefaneschi Gio. Battista, a Florentin hermit, born in 1585, d. 1659. 219. Storer Christopher, of Constance, b. 1611, d. 1671. 579. Stuckelberg Ernest (Basiliensis), painted 1889. 218. Sustermans Just, of Antwerp, b. 1597, d. 1681. 423. Taruffl Emilio, of Bologna, b. 1633, d. 1669. 359. Tavarone Lazzaro, of Geneva, b. 1556, d. 1641. 252. Tempesta (See Muller). 254. Testa Pietro, of Lucca, b. 1617, d. 1650. 408. Tiarini Alessandro, of Bologna, b. 1577, d. 1668. 357. Tibaldi Pellegrino, of Bologna, b. 1527, d. 15^1. 378. Tintoretto (See Robusti). 300. Titi Tiberio, of Firenze, the son of Santi di Tito, b. 1573, d. 1627, painted in 1612. 277. Tito (Santi di), of Borgo S. Sepolcro, b. 1538, d. 1603. 330. The same. 384. Tiziano (See Vecellio). 128 PAINTINGS 495. Torelli Felice, of Verona, b. 1667, d. 1748. 691. Torelli Lucia, of Bologna, d. 1762. 489. Trevisani Angelo, of Venezia. He flourished in 1753. 393. Trevisani Francesco, of Treviso, b. 1656, d. 1746. 479. Troy (De) Francis, of Toulouse, b. 1645, d. 1730 478. Troy (De) John Francis, of Paris, b. 1679, d. 1752. 258. Ulivelli Cosimo, of Firenze, b. 1625, d. 1704. 597. Ussi Comm. Prof Stefano, of Firenze (still living). 285. Vaga (Del) See Buonaccorsi. 537. Vander-Brach Nicholas, of Messina, painted in 1756. 453. Vander Heist Bartolommeo, of Harlem, b. 1601, d. 1670. 457. Vander Neer Angelo Enrico, of Amsterdam, b 1649, d 1722 456. Vander-Werff Adrian, born near Rotterdam in 1659, d. 1722. 223. Van-Dyck Anthony, of Antwerp, b. 1599, d. 1641. (See Baldinucci, vol. XV, pag. 45). 675. Van Kalcher Giovanni 460. Van Platen Matthew, of Antwerp, called 11 Montagna, b. about 1630, d. 1776. 227. Spranger Barthelemy, of Antwerp, b. 1546, d. 1627. 249. Vannini Ottavio, of Firenze, b. 1585, d. 1643. 280. Vannucchi (See Sarto). 287. Vannucci Pietro, of Perugia, called Pietro Perugino, b. 1446, d. 1526. The Chevalier Montalvo who rightly attributed this portrait to Perugino, then fall into the mistake of affirming it to represent the author, to which con- clusion he would certainly not have corne, had be not neglected to read the following inscription, which is seen on the reverse of this painting : 1494 D'LUGLIO PIETRO PERUGINO PINSE FRANC. DE LOPE (delle Opere) Francis delle Opere was a flo- rentin artist, the brother of the celebrated Giovanni delle Corniole. He died at Venice in 1496. (Vasari; G. C. Sansoni, 1880, Vol. Ill, pag. 604). 608. Vannutelli Scipione, 1876. 694. Vantini Domenico, of Brescia, b. 1765, d. 1821. 668. Varottari Chiara, b. 1650. 291. Vasari Giorgio, of Arezzo, b. 1511, d. 1574. 371. Vasillachi Antonio, of Milo, called L'Aliense, born in 1556. d. 1629. 593. Vautier B., of France. 384. Vecellio Tiziano, of Cad ore, in Friuli, b. 1477, d. 1576. 216. Velasquez de Silva Diego, of Seville, b. 1599, d. 1660. 217. The same. POETBA1TS OF PAINTERS 129 426. Veneziano Antonio, b. 1319? d. 1383? 336. Veraoini Agostino, of Firenze, b. 1689, d 1762. 307. Vignali Jacopo, of Prato Vecchio, province of Casen- tino (Tuscany), b. 1594, d. 1664. 292. Vinci (Da) Leonardo, born at Vinci near Empoli, pro- vince of Firenze, b. 1452, d. 1519. 497. Vivien Joseph, of Lyon. b. 1657, d. 1734. 567. Vogel Charles, of Vegelstein, b. about 1788. 582. Vos Gebhardt E. 440. Vos (De) Martino, of Antwerp, b. 1531, d. 1603. 463. Vouet Simone, of Paris, b. 1590, d. 1649. 476. Vouet Ferdinand, a Flemish, artist who flourished in 1660. 593. Voutier B., of Prussia (still living). 464. Vump Jean, a Flemish, artist who flourished in 1650. 460. Waldstein Marianna, Marchioness of Sancta-Crux, (a miniature) 1818. 585. Watts, English painter (still living). 456. Werff (See Van der Werff ). 553. Werhlein Vinceslaus, of Torino, d. 1780. He is hold- ing the portrait of Grand-Duke Peter Leopold I of Tuscany; signed: Vinceslaus Werhlein, 1771. 710. Werner (von Antony), of Berlin (still living). 571. Winterhalter Franz, b. 1806, d. 1878 633. Yvon Adolphe, b. 1817 at Eschviller (Moselle). 669. Zaballi Raimondo, b. 1794, d. 1842. 402. Zampieri Domenico, of Bologna, called // Domeni- chino, b. 1581, d. 1641 488. Zanchi Antonio, of Este, b. 1639, d. 1722. 442. Zoffani John, of Germany, b. 1733, d. 1772 551. Zona Antonio, ofVenezia (still living), painted in 1865. 615 Zorn Andi-fa Leonardo, of More, Svezia (still living). 270. Zuccheri Federigo, of S. Angelo in Vado, near Urbino, b. 1536, d. 1609. 279. Zuccheri Taddeo, b. 1529, d. 1566. Corridor leading to the Hall of Lorenzo Monaco. The two first traits of this corridor belongs to the Collection of Portraits of Painters painted by themselves, in the third trait are exhibited the following paintings : 130 PAINTINGS 1282. GRANACCI Francesco. Joseph presenting his father and brothers to Pharaon. On wood. Dim. fig. 3387. ROSA Salvatore. Job. In one angle is Job seating and nude and in the other are many figures one of which in complete ar- mature. On canv. Life size. 1249. GRANACCI Francesco. Joseph conduced in prison. A landscape in the back- ground. On wood. Dim. fig. 203. RENI Guido. Bradamante in a military costume, standing by a fountain, listening to the account of Ruggero's sad ad- ventures made by Fiordespina. (Ariosto, Orlando Fu- rioso, canto I). On canvas. Half life size. This painting, was in the Casino Mediceo, in Piazza di S. Marco, and was brought to this Gallery in 1667. 637. BASSANO. Dead Christ and the three Marys; a large painting, with an admirable night effect. On canvas. Life size. 597. TINTORETTO'S SCHOOL. Entry of Christ into Jerusalem. On canvas. Dim. figures. Hall of Lorenzo Monaco. 17. ANGELICO (Fra Giovanni), of Fiesole. Born near Vicchio di Mugello in Toscany in 1387, died 1455. A tabernacle with two doors. Within the tabernacle is the Holy Virgin with the Infant Saviour standing on her knee : twelve little angels playing on different in- struments are painted all around. The figure of the Vir- gin is above life size. The internal parts of the doors bears the figures of St. John the Baptist and St. Mark : on the exterior are St. Peter and again St. Mark. This remarkable work was committed to Fra Ange- lico on the 11 th of July 1433, by the Association of the HALL OF LOBENZO MONACO 131 flax-weavers (Arte de' Linaioli) for the price of 190 golden florins, and was brought to this Gallery in 1777. The gradino contain three different subjects: Preaching of St. Peter ; Adoration of the Kings, and Martyrdom of St. Mark. On wood. Dim. fig. 1297. GHIRLANDAIO(DomenicoBigordi, called Domenico del), of Florence. The Holy Virgin with the Infant Jesus, attended by four angels; St. Michael and St. Raphael, left and right of the throne, and St. Zenobius and St. Just kneeling before it. The background is richly decorated with architecture and landscape. On wood. Life size. This painting was made for the church of St. Just of the Jesuits, near Florence, and after the distinction of that church, during the famous siege in 1530, it was taken to the little church of St. John, called La Calza, by Porta Romana, also in Florence, and was finally purchased by the Government and brought to this Gal- lery in 1857. 1286. BOTTICELLI Alessandro. The adoration of the Kings. A very fine work, particularly remarkable for its composition and perfect drawing, as well as for the sentiment which the whole painting expresses. The figures are probably the por- traits of some illustrious personages of the time : those of Cosmus the Elder, Julian and John are well reco- gnisable. On wood. Half life size. Vasari mentions this work as existing in the church of Santa Maria Novella; in the XVII century it was taken to the Villa del Poggio Imperiale, and was brought to this Gallery in 1796. 24. CREDI (Lorenzo di), of Florence. Born 1459, died 1537. The Holy Virgin adoring the Divine Infant, with an angel. On wood. Dimin. fig. 1305. DOMENICO VENEZIANO. Died on may 15th 1461. The Holy Virgin enthroned, holding the Divine Infant on her lap. On her right are St. John the Baptist and St. Francis, on the left St. Nicholas and St. Lucy. On the lower edge of the picture an inscription as follow : OPUS DOMINICI DE VENETIIS. HO MATER DEI 132 PAINTINGS MISERERE MEI DATUM EST. On wood. Half life size fig. This splendid painting formely belonged to the church of Santa Lucia de'Magnoli, Via de' Bardi in Florence: and was taken to the Gallery in 1862. 1309. DON LORENZO MONACO, of Florence. Born about 1370, died 1422. The coronation of the Virgin. A tryptic, admirable for the number and beauty of the different paintings it contains. The Coronation of our Lady amidst a glory of sixteen angels is painted in the middle panel ; the two others bear ten figures of saints each. Several smaller figures are scattered among the various orna- ments of the frame. On the pinnacles above the principal panels is the Holy Trinity, left and right of which are : the Virgin announced and Gabriel. The gradino con- tains six diminutive compositions, four of which repre- sent some scenes from the life of St. Bernard, and the two others The Birth of our Lord and The Adoration of the Mages. Between the tryptic and the gradino there is an inscription in golden letters, with the fol- lowing words : HEC TABVLA FACTA EST PRO ANIMA : ZENOBI CECCHI FRASCHE ET SVO- RUM IN RECOMPENSATIONE VNIVS ALTE- EIVS TABVLE PER EVM IN HOC.... (LA)V- RENTII IOHANNIS ET SVORUM MONACI HVIVS ORDINIS QVI EAM DEPINXIT ANNO DOMINI MCCCCXIII . MENSE . FEBRVARII TEM- PORE DOMINI MATHEI PRIORIS HVIVS MONASTERIL This painting is one of the few works of this famous artist which could be preserved to our time. It was made in 1413 for the high altar in the church of the Monastery called degli Angioli to which Don Lorenzo belonged ; but about the end of the sixteenth century it was removed from that place, and people then believed it lost, until it was found out again in 1830 in the Abbey of St. Peter at Cerreto near Certaldo, by the commentators of Vasari, in an artistic journey in Val d' Elsa. This splendid master-piece contains more than a hundred figures altogether. It was brought to this HALL OP LOREXZO MONACO 133 Gallery in 1866, and restored under the direction of Mr. Ector Franchi. 1302. GOZZOLI Benozzo, of Florence. Born 1420, dip It was brought to this Gallery from the Casa Della Rovere in 1795. 595. BASSANO (lacopo da Ponte, called). Portrait of the painter's family. Half lengths. In the middle is Jacob, the father; left and right of him are his sons Francis and Leander, with their children and the two wives, all singing and playing on different instruments. This painting is one of the finest works of this famous artist. On canvas. Life size. 598. CAPPUCCINO VERONESE (Fra Semplicino da Verona, called U). Born 1589, d. 1654. The corps of our Lord lying on a shroud : the Holy Virgin, St. John and the Magdalene. On canvas. Life size. Signed : Simplex Veronensis Cappuccino F. 587. BORDONE Paris. Portrait of a bearded man, in a black dress, trim- med with fur. Half length. On canvas. Life size. 600. BASSANO (lacopo da Ponte). A landscape, with figures of shepherds and animals. On canvas. Dimin. fig. VENETIAN SCHOOL 139 601. TINTORETTO (Robust! lacopo). Portrait of the Venetian admiral Veniero ; a half length figure in an armour, laying his right hand on a helmet. In the back-ground a sea-view, with some fortresses in the distance. On canvas. Life size. Taken from the store-rooms of the Royal Palace in 1794. 677. BORDONE Paris. Portrait of a boy. On wood. Life size. 602 bis. RICCI Sebastiano, of Cividale, near Belluno. B. 1662, d. 1734. The sacrifice of Iphigenia. Purchased in 1869. - On canvas. Dim. fig. 604. CARLETTO (Carlo Caliari, called), Paolo Veronese's son. B. 1572, d. 1596. A large painting representing the Holy Virgin with the Infant Jesus surrounded by many figures of angels. Below are : St. Mary Magdalene. St. Margaret and St. Fredian bishop of Lucca, holding a rake, as a simbol of the prodigious hydraulich works through which Lucca has been saved from the frequent danger of inundation of the river Serchio, and the country around has acqui- red its well deserved renown of uncommon fertility. This painting is one of the most valuable works of Carletto, and was given to this Gallery by the granduke Ferdinand III, who purchased it from a church in Castel Franco di Sotto. On canvas. Life size. -- Signed: Carlo filio Paiili Caliari U. st f. 581. TINELLI Tiberio, of Venezia. B. 1586, d. 1638. The head of a young man. On canvas. Life size. 585. PORDENONE (Giovanni Antonio Licinio, called). Born at Pordenone in Friuli in 1483, died at Ferrara in 1539. Portrait of a man, holding a book in his right hand and a handkerchief in the left. On canvas. Life size. Taken from the store-rooms of the Royal Palace in 1794. 606. BASSANO. A landscape with figures of shepherds and animals. - On canvas. Dim. fig. 140 PAINTINGS 608. PALMA lacopo, called Palma il Giovane (the younger), in order to distinguish him from his uncle, who is call- ed Palma il Vecchio (the elder). Born at Venezia, in 1544, d. 1628. St. Margaret, with the winged dragon. A two thirds length. Life size. On canvas. 607. BORDONE Paris. Portrait of a man in a black and red suit, holding a glove in his right hand, which is laid on a table. On Canvas. Life size. Taken from the store-rooms of the Royal Palace in 1794. 626. TIZIANO. Portrait of a young woman holding some flowers in her right hand. A splendid figure, generally called La Flora; one of the most admired paintings of Titian. - On canvas. Life. size. Taken from the store-rooms of the Royal Palace in 1793. (Second Hall). 645. SAVOLDI Giovan Girolamo, called Savoldo, of Brescia. XVI Cent. The transfiguration of Our Lord, in presence of the apostles Peter, John and James, on the mount Tabor. On wood. Half life size. 646. TINTORETTO (Robusti lacopo). The sacrifice of Abraham. On canvas. Half life size. 612. VERONESE Paolo (Paolo Caliari). The head of St. Paul (a study). On canvas. Life size. 629. MORONE (Gio. Battista Moroni). A male portrait. On canvas. Life size. 614. TIZIANO. Portrait of John de' Medici, the famous captain cal- led Giovanni delle Bande Nere. Ha was the father of Cosmus I Grand- duke of Tuscany; and died at the VENETIAN SCHOOL 141 battle of Mantua. On canvas. Above half length. Life size. 615. TINTORETTO (Robusti lacopo). Portrait of an old man. A half length. On canvas. Life size. 616. PORDENONE (Gio. Antonio Licino). The conversion of St. Paul. The saint is represented when struck down by a flash from a cloud, amidst his frightened soldiers. On canvas. Life size. Taken from the store-rooms of the Royal Palace in 1798. 617. TINTORETTO. The Marriage in Cana. This painting is a diminu- tive copy, which Tintoretto himself made of that he executed for the refectory in Santa Maria della Salute at Venice, and which is now kept in the sacristy of that church. On canvas. Half life size. Taken from the store-rooms of the Royal Palace in 1796. 618. TIZIANO. The Holy Virgin and Child. A study for the Ma- donna in the famous painting belonging to the Pesaro family in the church of the Frari at Venice. A peculiar importance of this painting relys on being a simple sketch by which one can observe the proceed- ing this great artist used in the performance of his works. On canvas. Life size. Bought in 1863. 619. PALMA lacopo (the Elder). Born at Serinalto in the pro- vince of Bergamo in 1480, died in Venezia in 1528. Judith. Half length. Life size. On canvas. Taken from the store-rooms of the Royal Palace in 1798. 620. MAGANZA Alessandro of Venezia. B. 1556, d. 1630. Portrait of a man in a Spanish dress, holding a child on his left arm. Above half length. On canvas Life size. 642. MORONE (Gio. Battista Moroni, called). Portrait of John Anthony Pantera, the author of a 142 PAINTINGS poem intitled La Monarchic, di Cristo, which was pu- blished in 1535 and dedicated to Francis I. A half length. On canvas. Life size. Brought from the Poggio Imperiale Villa in 1795. 622. GIORGIONE (Giorgio Barbarelli, called), of Castelfranco in the province of Treviso. Born 1478, d. 1511. Portrait of a knight of Malta. This portrait is con- sidered as one of OHorgione's finest paintings. -- On canvas. Half length. Life size. Taken from the store-rooms of the Roval Palace in 1798. 591. SALVIATINO (Porta Giuseppe, of Garfagnana, called). Born 1478, d. 1511. Bersabea bathing whilst King David is observing ker in the distance. 624. CARLETTO (Caliari Carlo). Adam and Eve expelled from Paradise. On canvas. 621. GIORGIONE. The child Moses undergoing the Ordeal by Fire. The Pharaon is sitting on his throne, surrounded by several personages in various and pictoresque costumes. On wood. Dim. fig. 589. PAOLO VERONESE (Paolo Caliari). The Martyrdom of St. Justina. The same composi- tion was executed in large proportions by the same author, tor the church of St. Justina in Padoa. On canvas. Dimin. fig. Taken from the store-rooms of the Royal Palace in 1794. 628. BONIFAZIO VERONESE. Born at Verona in 1497, died in 1553. The last supper. A large painting, much admired on account of its bold and strong colouring. This painter is one of the best followers of the great Titian's manner. On canvas. Life size. Taken from the store-rooms of the Royal Palace in 1798. 630. GIORGIONE (Giorgio Barbarelli). The judgement of Solomon. A rich composition of VENETIAN SCHOOL 143 many figures, on a fine landscape back-ground. Similar to N. 621, and both belonging to the primitive manner of this painter. On wood. Dim. fig. Taken from the Poggio Imperiale Villa in 1795. 625. TIZIANO. The Virgin holding the Divine Infant on her arms, and St. Catharine offering to him a prommegranade. A splendid painting chiefly remarkable for the grace and vivacity of its colouring. On canvas. Half life size. 639. BONVICINO Alessandro, called il Moretto da Brescia. Born 1498, d. 1555. Portrait of a man in black, playing on a guitar. On wood. Life size. 623. PALMA lacopo (the Elder). The Virgin and Child, St. Mary Magdalene, St. John and St. Joseph. On wood. Half life size. Taken from the store-rooms of the Royal Palace in 1793. 632. CARLETTO (Caliari Carlo, called). Adam and Eve, with their children, tilling. On canvas. Dim. fig. 633. TIZIANO. The Holy Virgin holding the Divine Infant on her arms, to whom young St. John presents some flowers. Aside St. Anthony the Hermit, in profile. On wood. Life size. Taken from the store-rooms of the R. Palace in 1793. 583. BELLINI Giovanni, of Venezia. Jesus Christ dead, among the apostles. Chiaro-scuro, half length figures. On wood. Half life size. 635. CARLETTO (Caliari Carlo, called). The creation of Eve. On canvas. Dim. fig. 636. PAOLO VERONESE (Paolo Caliari). The crucifixion; a rich and very expressive compo- sition of many figures. On canvas. Dim. fig. Taken from the store-rooms of the Royal Palace in 1798. 144 PAINTINGS 3389. PAOLO VERONESE (Paolo Caliari). Moses found in the Nyle. On canvas. Life size. 638. TINTORETTO. Portrait of the celebrated sculptor and architect San- sovino, in his old age. On canvas. Life size. On the back-ground, the words : J ACOPO TATTI SANSOVINO. 647. TINELLI Tiberio, of Venezia. B. 1586, d. 1638. Portrait of the poet Gio. Battista Strozzi. A half length. On wood. Life size. Taken from the Poggio Imperiale Villa in 1795. 640. BASSANO (lacopo da Ponte). Noach shutting himself into the Ark. On canvas. Dim. fig. 641. CARLETTO (Caliari Carlo, called). The first sin of Adam. On canvas. Dim. fig. 3390. TINTORETTO. Portrait of an unknown man. 613. BORDONE Paris. Portrait of a man. On canvas. Life size. 643. VAROTARI Alessandro, of Padova, called il Padova- nino. Born 1580, d. 1650. Lucretia. A half length. On canvas. Life size. 609. TIZIANO. Sketch of a battle, between the imperial troops and the Venetian army at Cadore. On the foreground is Bartholomew Alviano, the Venetian chief- commander, laying his right hand on the scepter. This painting was executed by Titian, in large pro- portions, in one of the halls of the Ducal Palace in Venice, but a fire destroyed it entirely in 1570. Ridolfi gives a minute description of this work: V. I, p. 148. On canvas. Dim. fig. 610. BASSANO (lacopo da Ponte). Two hounds. On canvas. Life size. 649. SCHIAVONE Andrea. Portrait of a sitting black bearded man, in a black VENETIAN SCHOOL 145 suit of cloth. Above half length. On canvas. Life size. 590. TIZIANO. The Holy Virgin surrounded by seraphims: the In- fant Jesus upright before her, and St. John. On can- vas. Life size. 644. PINI Paolo, of Venezia. XVI Cent. Portrait of the physician Coignati, in black clothes and a glove on his right hand. - On canvas. Life size. 611. BASSANO. Portrait of an old man, holding a pencil in his right hand and a paper in his left. On canvas. Life size. 650. UNKNOWN. - XVI Cent. Portrait of a Geometrician ; painted on a semicir- cular slate. Signed: MDLV. -- Half length. French. School. The ceiling of this room and of the four following between this and the Tribune, are painted by some pupils of Bernardino Poccetti. 651. COURTOIS Jacques, called il Borgognone. Born at Saint- Hyppolite, Franche-Comte, in 1621, d. at Rome in 1676. A small battle-piece. Skirmishing horsemen. - - On canvas. Dim. fig. 662. THE SAME. The same subject. 653. PARROCEL Joseph, of Brignoles (Provence). Born 1646, died 1704. Combat of cavaliers. A small painting. On canvas. Dim. fig. 654. COURTOIS Jacques, called il Borgognone. A battle. A large painting, representing some troops of soldiers assailing the castle of Radicofani. On canvas. Dim. fig. 10 146 PAINTINGS 655. VERNET Joseph, of Avignon. B. 1714, d. 1789. A small landscape, with a water fall and some fishermen. On canvas. 656. BOUCHER Francois, of Paris. B. 1740, d. 1781. The Infant Jesus, St. John and some seraphims. On canvas. Dim. fig. 657. LOO (Van) Charles Andre, of Nice. Born 1705, died in Paris in 1765. The Holy Virgin and Child. Above half length. - Life size. On canvas. 658. VALENTIN. Born at Coulommiers in 1601, died at Rome in 1634. A man playing on a guitar. A half length. - - On canvas. Life size. 659. NAIN (Antoine le), of Laon. Born 1568 or 1578, d. 1648. Adoration of the shepherds. On canvas. Half life size. 691. CHAMPAGNE Philip, of Bruxelles. B. 1602, d. 1674. Vocation of St. Peter. A ship and several figures in the distance. On canvas. Dim. fig. 661. LOIR Nicholas, of Paris. Boru 1623, d. 1679. The Holy Virgin, Child and St. John. Half lenght. On canvas. Life size. Taken from the R. Pitti Palace in 1797. 662. UNKNOWN. A small battle. On copper. Dim. fig. 663. GAGNERAUX Benedict, of Dijon. B. 1673, d. 1795. A battle. A small painting. On canvas. Dim. fig. Signed: B. Gagneraux 1795. 664. HYRE (De La) Laurence, of Paris. B. 1606, d. 1656. The Virgin holding the Infant Jesus on her lap. A full figure on a landscape back-ground. - - On wood. Half life size. 665. VERNET Joseph. A small sea piece. A ship in danger of going to wreck. On canvas. FRENCH SCHOOL 147 666. UNKNOWN. A small landscape, with figures of huntsmen. - On wood. Dim. fig. 667. CLOUET or CLOET Francois, called Jehannet, of Tours Born about 1500, died about 1573. Portrait of Francis I, king of France; a full figure on horseback, executed with a great carefulness of finish, and much skill. On wood. Dim. fig. 668. DUGHET Gaspar, called Gaspero Pussino. Born in Rome in 1613, died 1675. A small landscape, with two figures of fishermen. - On wood. Dim. fig. 669. BORGOGNONE (Jacques Courtois). A battle. A large and splendid composition. A group of combatants on "the fore ground and several horsemen fighting in the distance. On canvas. Dim. fig. On the trappings of a white horse are the words : JACOMO CORTESE. This painting as well as N. 654. are believed to have been made for Prince Mattias de' Medici who much protected this artist. They were both taken from the Roval Pitti Palace in 1773. 670. MIGNARD Pierre, of Troyes. Born 1610, d. 1695. Portrait of the Countess of Grignan. On canvas. Life size. 671. WATTEAU Anthony, of Valenciennes. Born 1681, died at Nogent near Vincennes in 1721. A party of horsemen and a lady, listening to a flute player, in a garden. On canvas. Dim. fig. Taken from the store-rooms of the Royal Palace in 1860. 672. GRIMOUX (Grimou or Grimoud) Alexis. Born in Switzer- land in 1680, died in Paris 1740. A young pilgrim. Above half length. On canvas. Life size. 673. MEL'LEN (Anthony-Francis Van der), of Brnxelles. Born 1634, died at Paris in 1690. Portrait of Francis William, Elector Palatine, on 148 PAINTINGS horseback, in the act of commanding, at the head of his army, which is seen at a distance. On canvas. Half life size. Taken from the store-rooms of the Royal Palace in 1861. 676. UNKNOWN. Portrait of Louis XIV, king of France. A full length. On wood. Half life size. Taken from the store-rooms of the Royal Palace in 1862. 675. STELLA James, of Lyon. B. 1596, d. 1657. Jesus sitting at table in a beautiful country, attended by some angels. On canvas. Half life size. Taken from the store rooms of the Royal Palace in 1773. 684. RIGAUD Hyacinthe, of Perpignan. Born 1654, died on July 18th 1743. Portrait of the celebrated Bossuet, bishop of Meaux. On canvas. Life size. Brought from the Poggio Imperiale Villa in 1861. 674. LARGILLIERE Nicholas, of Paris. Born 1656, died 1746. Portrait of the poet J. B. Rousseau. A half length. - On wood. Life size. 677. JOUVENET John, of Rouen. Born 1644, died 1717. St. Anna. On canvas. Half life size. 678. VALENTIN. Christ giving the sentence : Thou seest the fescue in the eye of thy neighbour and not the beam in thyne own. Half lengths. On canvas. Life size. 679. FABRE Franoois-Xavier, of MontpeJlier. B. 1766, d. 1837. Portrait of Victor Alfieri, executed with much skill and perfect likeness. Above half length. On canvas. Life size. The author himself made a present of this portrait and that of the Countess of Albany (N. 689) to this FRENCH SCHOOL 149 Gallery in 1824. Behind this is the following autho- graphic sonnet by Alfieri: Sublime specchio di veraci detti, Mostrami in cprpo e in anima <}ual sono. Capelli or radi in fronte e rossi pretti; Lunga statura e capo a terra prono; Sottil persona in su due stinchi schietti : Bianca pelle, occhi azzurri, aspetto buono; Giusto naso, bel labbro, e denti eletti, Pallido in volto, piu che un re sul trono: Or duro, acerbo; ora pieghevol, mite; Irato sempre e non maligno mai ; La mente e il cor meco in perpetua lite: Per lo piu mesto, e talor lieto assai ; Or stimandomi Achille, ed or Tersite: Uom, se'tu grande o vil ? Muori. il saprai. V. A. Scampato, oggi a du' aimi, Dai Gallici Carnefici Tiranni. Firenze, 18 agosto 1794. 680. POUSSIN Nicholas. B. at Andelys in Normandy in 1594, died at Rome in 1665. Theseus in Trezene. Theseus in presence of his mo- ther Etra, lifts with great effort the huge stone, under which his father Egeus had hidden the sword his son had to show in order to be recognised by the Athenians. - On canvas. Half life size. Taken from -the store-rooms of the Royal Palace in 1793. 681. PILLEMENT John, of Lyon. Born 1728, d. 1808. A sea port, on a misty morning. In pastello. On paper. 682. CLOUET Francois, called Jehannet. Portrait of a young man. A half length dimin. figure. 683. PERELLE Nicholas, of Paris. Born 1638, d. 1695. A small landscape, with a figure of St. John sitting by the bank of the river Jordan. On copper. 660. BOURDON Sebastian, of Montpellier. Born 1622, died in Paris on may 8th 1671. Repose -in Egypt, with a fine landscape back-ground. - On canvas. Dim. fig. Taken to the Gallery in 1793. 150 PAINTINGS 686. BRUN (Charles Le), of Paris. Born 1619, d. 1690. Jepta's vow. A beautiful composition, on a circular canvas. Half life size. Taken from the store-rooms of the Royal Palace in 1793. 686. PILLEMENT John. A sea storm. In pastello. On paper. 687. CALLOT Jacques, of Nancy. Born 1594, d. 1635. A grotesque portrait. -- On copper. Dim. fig. 688. MIGNARD Pierre. Portrait of the Marquise de Sevigne. Almost a full length. On wood. 689. FABRE Francois-Xavier. Portrait of the Countess of Albany. - - Above half length. An authographic sonnet by Alfieri, is written behind, as follows: Di quanti ha pregi la mia donna eccelsi, (Cui piu il conoscer che il narrar m'e dato) Quello per cui me da me stesso io svelsi, fe il cor d'alta bonta si ben dptato. Questa in mille virtu da prima io scelsi. E pill assai che beltade hamini allacciato: Questa dopo anni ed anpi, ancor riscelsi Per vera base al mio viver beato. Non che i suoi brevi sdegni ella non senta; Ne che pur tarda od impassibil sia: Ma vie men sempre al perdonare 6 lenta. Nel suo petto non entra invidia ria; I beneflzi al doppio ognor rammenta; Le offese, in uri coll' offensore, oblia. Firenze, 18 agosto 1794. Compie in quest' oggi il second' anno appunto Che agli schiavi cannibal! assassini Io lei sottrassi ; e diemini Apollo il punto. V. A. 690. GAGNERAUX Benedict. A Lion Hunt. On canvas. Half life size. - Signed: B. Gagneraux 1796 Purchased in 1796. 690 bis. FABRE Francois-Xavier. Portrait of the painter Joseph Mary Terreni. FRENCH SCHOOL 151 692. VOUET Simon, of Paris. Born 1590, d. 1649. The Annunciation. On canvas. Dim. fig. 693. POUSS1N Nicholas. V<-niis and Adonis on mount Ida. A sketch. On canvas. Dim. fig. 694. DCFRESNOUY Charles Alphonse, of Paris. Born 1611, died 1665. The death of Socrates ; a composition of many figures. - On canvas. Half life size. Taken from the store-rooms of the Royal Palace in 1793. 695. CHAMPAGNE Philip. A male portrait. On canvas. Life size. Taken from the Royal Palace in 1797. 696. GRIMOUX Alexis. A pilgrim girl. Above half lenght. Supposed to be the portrait of Mad. Dangeville. On canvas. Life size. 697. HYRE (De La) Laurence. St. Peter healing the sick with his shadow. - - On canvas. Dimin. fig. Taken from the store-rooms of the Royal Palace in 1793. Flemish and German Schools. (First Saloon). 698. GOES (Hugh Van der), of Bruges or of Ghent. XV Cent. The Holy Virgin, sitting and holding her Divine Son on her arm. St. Catherine and another Saint. A paint- ing worthy of particular remark for its fineness and skill of execution. The works of this painter are very rare, particularly in the Flanders, as the greatest part of them were executed in Italy. On these the most remarkable is the large painting which he made for the church of Santa 152 PAINTINGS Maria Nuova in Florence, by commission of the Por- tinari family. On wood. Dim. fig. According to Prof. John Semper's recent opinion this painting is however to be attributed to Henry Alde- grever rather than to Goes (See Arte e Storia, January 24 th 1886, N. 3, Anno V). 748 bis. KULMBACK. Conversion of St. Paul. 700. TENIERS David (the younger), of Antwerp. Born 1610, died at Bruxelles in 1690. An old woman and an old man, caressing each other, in an inn. On canvas. Dimin. fig. 701. SON (George Van), of Antwerp. Born 1650, died 1700. Two gamblers fighting. On wood. Dim. fig. 702. NEEFS Peter (the Elder). Interior of a vast church, by the light of two tor- ches carried by two men who walk before a group of women coming from the baptismal font, with a child. - On wood. Dim fig. -- Signed: Peter Neefs. 703. MEMLING John (in old catalogues erroneously spelt as Hemeline). Died in Bruges 1495. The Holy Virgin with the Divine Child enthroned. Left and right are two angels, playing a violin and a harp. In the back-ground a landscape with very minute figures. This painting is precious for its exquisite exe- cution and perfect state of preservation. -- On wood. Dim. fig. 704. GERMAN SCHOOL. Christ on the Cross, and the figures of a knight, a gentle-woman and a child in the act of adoration On wood. Half life size. 705. TENIERS David (the elder), of Antwerp. B. 1582, d. 1649. A Physician, sitting and holding a phial. On wood. Dim. fig. 706. TENIERS David (the younger). St. Peter weeping. A half length. Reminiscent of the Bolognese school. On wood. Dim. fig. FLEMISH AND GEBMAN SCHOOLS 153 707. NEEFS Peter. Interior of Antwerp cathedral. On wood. Si- gned : Peter Neefs. 708. FLEMISH SCHOOL. - XV Century. Adoration of the Wise Men. On canvas. Dim fig. 7 13 bis. KULMBACH John, of Nuremberg. B. 1492, d. 1539. Martyrdom of St. Peter. On wood. Dim. fig. 710. STALBENT Adrian, of Antwerp. B. 1580, d. 1662. A landscape; a forest by a river. 711. FLEMISH SCHOOL. A small landscape. On slate. 712. FLEMISH SCHOOL. XVII Century. Landscape by night, with figures of men, fording a river. On slate. 713. KULMBACH. St. Peter walking on the tvater. On wood. Dim. figures. 714. MIEL (or Meel) John. Born at Antwerp in 1599, died at Turin in 1656. A landscape ivith figures. On canvas. 749. FLEMISH SCHOOL (Van der Goes style). Tico half length portraits ; a man and a woman on two separate compartments. They are both dressed in the Flemish fashion, and have a book on their hands. They are painted on two panels on the reverse of which is an Annuntiation. On w^ood. Life size. Taken from the hospital of S. Maria Nuova in 1825. 717. NEEFS Peter. Interior of a church. This painting is remarkable for a splendid effect of light of some candles on an altar, and for its size which is larger than in any painting of this artist generally is. -- On wood. - Signed: Neefs 1636. 731. EYCK (?) (John Van). Born at Eyck about 1390, died at Bruges on July 14th 1440. The Adoration of the Wise Men. A triptyc. On 154 PAINTINGS wood. Dim. fig. Found out of the store-rooms of the Gallery in 1863. Prof. John Semper has however recently sentenced this painting to be the work of Martin Van Veen called Keemskerck, born at Keemskerck in 1498, died at Harlem 1574. 719. RUBENS SCHOOL. Bacchanals. Imitation of a painting by Titian. - On wood. Dim. fig. 721. GCEBAUW Anthony, of Antwerp. B. 1616, d. 1698. Some peasants, by the door of a farm house. Signed : A Gebow F. On wood. Dim. fig. 722. LAAR (Peter Van), called il Bamboccio. Born at Lauren, near Naarden in Holland in 1613, died at Harlem in 1673 or 1674. A man watering three, dogs. A small painting on slate. 723. UNKNOWN. - XVII Century, A landscape. On an oval copper plate. The size of N. 720. 724. KULMBACH John. Martyrdom of St. Paul. On wood. Half life size. 725. ASSELYN John, of Antwerp. Born 1610, d. 1690. A landscape with a large water-fall. On canvas. - Signed: J. A. 726. BEGA Cornelius, called Kornelis Begyn, of Harlem. Born 1720, died 1664. A group of gamesters, by a cottage. - - On canvas. Dim. fig. 727. UNKNOWN. - XVII Century. A landscape with ruins, and figures representing the resurrection of Lazzarus. On wood. 750. GERMAN SCHOOL. XVI Century. Male portrait. On copper. Dim. fig. 728. UNKNOWN. - XVII Century. The temptation of St. Anthony. On copper. Dim. figures. FLEMISH AND GEBMAN SCHOOLS 155 729. KULMBACH. St. Peter delivered from prison. On wood. Half life size. 730. DE BLESS Henry, called il Civetta, ol Bovignes, near Dinaut. Born 1480, died 1550. A landscape, with figures of miners, working by a mine. 718. BRILL Paul, of Antwerp, painter and engraver. B. 1554, d. in Roma 1626. A large sea-piece, with many ships. On canvas. 732. FLEMISH SCHOOL. XVII Century. The flight into Egypt. The Virgin bearing the Infant Jesus on a donkey, followed by St. Joseph and preceded by an Angel. On copper. Dim fig. 733. UROOM Cornelius, of Harlem. A sea piece. On wood. 734. UNKNOWN. - Flemish School. Landscape, with animals. On wood. 751. KRANACH (or Cranach) Luke, of Cranach. Born 1472, died at Weimar in 1553. St. George. A small painting. On wood. 758. ELZHEIMER. A landscape with a figure of a shepherd playing the bag-pipe. A small painting. On copper. 740 bis. KULMBACH. Ascension of St. Paul. 699. SUSTERMANS Just, of Antwerp. Born 1597, d. 1681. Portrait of a noble man of the Puliciani family. On canvas. Life size. Found out of the store-rooms of the Royal Gallery in 1862. 740. KULMBACH. St. Peter preaching. On wood. Dim. fig. 737. FRANK Francis, called il Vecchio d'Anversa (the Elder ot Antwerp). Born 1544, d. 1616. Danse of Cupids, in presence of some nimphs. On wood. Dim. fig. Signed: F. Frank inv. F.^A. 156 PAINTINGS 735. MIEL John. A peasant family. On canvas. Dim. fig. 739. LAMBRECHTS. Family scene. Similar to N. 746. Signed: Lam- brechts. -- On wood. Dim. fig. 1029. UNKNOWN. XV Century. The adoration of the Wise Men. On wood. Dim. figures. 743. MOUCHERON. A landscape. On canvas. 742. TENIERS David (the Elder). An old chemist. -- On canvas. Dim. fig. 744. FRUMENT Nicholas, of Avignone, France. XV Century. A large triptych : German School. In the center : the resurrection of Lazarus ; upon the right panel : Martha at the feet of Jesus; to the left: Mary Magdalene who is washing our Saviour's feet. Outside of the two doors are : the Virgin in chiaroscuro, and some portraits. On wood. Half life size. On the lower edge of the picture are the words : NICOLAVS FRVMENTI absolvit opus XX. KC. JUNII MCCCCLXI. 747. FRANCK Francis. Triumph of Neptune and Amphitrite. Similar to N. 737. On wood. Dim. fig. Signed: D. L. F. Frank inv. A. F. A. 709. SUSTERMANS. Portrait of the wife of Puliciani. On canvas. T Life size. Found out with N. 699. 745. KESSEL (John Van), of Antwerp. B. 1626, d. 1678 or 79. Fish. On copper. 746. LAMBRECHTS. Family scene. Similar to N. 739. On wood. Dim. figures. Signed: Lambrects. 748. KULMBACH. St. Peter and St. Paul led to prison. FLEMISH AND GERMAN SCHOOLS 157 741. MOUCHERON Frederic, of Embden. B. 1634, d. 1686. A landscape. On canvas. 752. UNKNOWN. - Flemish School. Small landscape. On canvas. 753. UNKNOWN. Flemish School. Small landscape. On canvas. 754. BRILL Paul. A landscape, with a ivild boar hunt. On canvas. 755. DEAL (John Van). A skull, with other emblems of Death. A small paint- ing. On wood. 756. GCEBAUW Anthony. An old man playing the guitar. On wood. Dim. figures. 757. VERENDAEL (or Varendael) Nicholas, of Antwerp. Born 1659, d. 1717. A vase of flowers. On wood. 758. ELZHEIMER Adam, of Francfort. Born 1574, d. 1620. A landscape. 759. DEAL (John Van). The same subject than N. 755. Signed: J. F. Deal. - On wood. 760. FLORIS Francis, of Antwerp. Flourished in 1570. Adam and Eve in the act of tasting the apple. A large painting. Full figures. Life size. -- Signed: F. Floris F. A. 1560. 761. BRUEGHEL John, of Antwerp, called Brueghel des ve- lours. Born 1568, died at Antwerp in 1625. A landscape. In the distance a large town crossed by a river. Inside this painting, which opens, and just on the back of Brueghel's landscape, their is a fine chiaroscuro composition by Albert Diirer, representing the ascent of Christ to the Golgotha and opposite to this a copy of it with colours, signed : A. D. Inventor 150o. Brueghel Fee. 1604. On wood. Dim. fig. 158 PAINTINGS 762. CLEEF Just, called Giusto da Gand. XVI Century. Bust of a Saint, with joined hands and a white veil on hor head. On wood. Life size. 830. SEGHERS Daniel, called the Jesuit, of Antwerp. B. 1590, d. 1661. Bttst of a man (chiaroscuro) surrounded with flowers. (Signed: D. Seghers. Soc. Jesu). On copper. Taken from the Gallery of Vienna in 1793. (Second Salon). 766. DURER Albert, of Norimberg. Born 1471, d. 1528. Portrait of an old man, with a chaplet in his hand ; believed to be the father of the painter. -- On wood. Life size. Signed vith the usual cypher of Diirer, and the date 1490. Brought from the Poggio Imperiale Villa, in 1672. 769. MEMLING. Portrait of a man in the act of praying, and a book open before him. Bearing the date 1442. Taken from the Hospital of S. Maria Nuova in 1825. 800. SCALKEN Godfrey. A young woman, by the light of a candle which she bears and covers with one of her hands. Life size. 767. NEEFS Peter. Interior of a prison. The death of Seneca. Signed : Peter Neefs. On wood. Dim. fig. 768. DURER Albert. The Apostle St. Philip. The head alone painted in distemper. On canvas. Life size. On the lower edge of the painting is the cipher of the author, with the date 1816. 779. MESSYS (or Metsys) Quintin. Born at Louvin in 1466, died at Antwerp in 1539. St. Jerome. A half length. On wood. Dim. fig. 770. RYCKAERT David (the Younger). Born 1612, d. 1661. Temptation of St. Anthony. - On wood. Dim. fig. n FLEMISH AND GEKMAX SCHOOLS 159 771. POELEMBURG (Cornelius van), of Utrecht. Born 1466, dead 1531. Five small figures of Apostles and other Saints, in separate compartments. On copper. Dim. fig. 772. THE SAME. Landscape, with an Angel appearing to a tvoman. On copper. 773. THE SAME. Another painting similar to 771. containing five small figure of Saints. On copper. 774. GELLEE Claudius, called Claudius of Lorrain. Born at Chateau de Champagne in 1600, died at Rome in 1682. A Marine scene, by the sitting sun. The sun is just setting on a calm sea ; a distant tower with battlements is seen in the evening mist, and near it a light tower and several ships around. On the fore ground, to the left are some large vessels with flags bearing the coat- of-arms of the knights of St. Stephen; to the right a magnificent palace, representing the Medici Villa at Rome, and before is another rich edifice, decorated with columns and statue. On a large door is a clock sur- monted by the coat of arms of the Medicis, to show that this painting was made by the commission of that family. This stupendous work of Claudius of Lorrain is one of his best master-pieces, and bears his signature and the date, still quite readible. It was brought hither from the Pitti Gallery in 1773. 831. SANDRART Joahim, of Francfort. B. 1606, d. 1683. Apollo rejoicing for having killed the serpent Python. On canvas. Dim. fig. 778. MEML1NG. St. Benedict. A half length. On wood. Life size. 801. FLEMISH SCHOOL. XV Century. A male portrait. On wood. Half life size. 777. DURER Albert. St. James; the head, painted in distemper; similar to N. 768 (the cypher of Diirer and the date : 1516). - On wood. Life size. 160 PAINTINGS 780. MEMLING. St. Benedict. A half length. On wood. Life size. 776. NEEFS Peter. Interior of a church. To the left there is a chapel lighted by two candles on the altar. On the fore -ground a wall, and two men with torches. On canvas. Half life size. 781. UNKNOWN. XV Century. An old woman. On wood. Life size. 782. MANS Francis Anthony, of Stettin. XVIII Century. A Village crossed by a river, with several boats and figures. Signed: F. Mans. On canvas. 842. RUBENS Peter Paul. The three graces (chiaroscuro) a sketch. On wood. Dim. fig. Given by Monsignore Airoldi in 1671. 784. MOR (or Moor) Anthony, of Utrecht. Born 1521, d. 1581. Portrait of an unknown man. On wood. Life size. 786. DOV (or Dou) Gerard, of Leyrlen. B. 1613, d. 1680. A school-master, teaching a girl, at a table, by the light of a candle. On the floor lays a kindled lantern : some other lighted lamps in different parts of the room. Signed: G. Dov. -- On wood. Dim. fig. 787. SWANEVELT Herman. Born at Woerden in 1620, died at Roma in 1690. Landscape. Imitation of Claudius of Lorraine's style. On canvas. 788. AMBERGER Christopher, of Nuremberg. Portrait of Camillus Gross. On wood. Life size. 785. FLEMISH SCHOOL. The shoemaker's family, at table. On canvas. Dim. fig. 789. HOREMANS Peter, of Antwerp. B. 1617, d. 1680. A school. --On canvas. Dim. fig. 790. SCHOEVAERDTS Mathew, of Bruxels. XVII Century. View of a village, with many figures. Signed : M. jSchcevcerdts. On wood. FLEMISH AND GERMAN SCHOOLS 161 792. MIGNON Abraham, of Francfort. Born 1639, died 1679? or 1697 ? Fruit with accessories. On wood. Taken from the store-rooms of the R. Palace in 1764. 793. ELZHEIMER Adam. A landscape with figures, of nymphs, guided by Mercury with some offerings to a temple. It is believed to represent the triumph of Psyches. - - On copper. Dim. rig. 795. WEYDEN (Rogers Van der), called delle Pasture. Born at Toarnai in 1400, died at Bruxels in 1464. The Body of Our Saviour being carried to the Se- pulchre. One of the finest works of this painter, who belongs to the best period of Flemish art. On wood. Half life size. 765. HOLBEIN John (the Younger). B. at Augsbourg in 1497, Hied in London in 1543. Portrait of Richard Southwell, counselor of State of Henry VIII king of England. A half length. - - On wood. Life size. On the back-ground are the follow- ing words in golden letters : X Julii Anno H. Till. XXVIII. Etatis sua? XXXIH. 797. SCALKKN Godfrey, of Dordrecht. Born 1643, d. at Haag in 1706. A sculptor in his studio, looking at a marble female bust, by the light of a candle. On wood. Dim. fig. 798. KESSEL. Fish and Fruit. On canvas. 811. VOS (Martin De). The Crucifixion, a small painting with many figures. On canvas. Dim. fig. 8. FLEMISH SCHOOL. - XV Century. Portrait unknown. 799. HOLBEIN John (the Younger). Mule portrait. - On wood. Life size. 802. FLEMISH SCHOOL. XVII Century. A family by the light of the fire side and a lamp. On wood. Dim. fig. 162 PAINTINGS 803. HOREMANS Peter. Interior of a kitchen. Signed: P. Horemans. - On canvas. Dim. fig. 804. BREYDEL Charles, of Antwerp, call, i I cavalier- Breudel. Born 1677, d. 1744. A small landscape, with many figures. On wood. 805. FERG Francis, of Paula. Born at Vienna 1689, d. 1740. A small landscape, with several figures. On copper. 806. BRILL Paul. A landscape. On canvas. 807. THE SAME. A small landscape. On copper. 808. AGRICOLA Christopher, of Ratisbonne. B. 1667, d. 1719. A landscape, with the rainbow. . On canvas. 812. RUBENS Peter Paul. Venus and Adonis. In a pleasant landscape, Adonis is represented in the act of quitting Venus. A little Cupid strives to detain him, while the three Graces uncover the goddess; but a malignant Fury draws him away from her, by the edge of his mantel. Some other Cupids are playing with some dogs, aside. This painting is executed with an admirable careful- ness of finish, and is also in a perfect state of preser- vation. On vood. Dim. fig. 813. BRILL Peter Paul. A large landscape, with figures and animals. -- On canvas. 814. BREYDEL Charles. A small landscape, similar to N. r 804. 'On wood. 815. FERG Francis, of Paula. A small landscape, with various figures. On copper. 816. BRILL Paul. A landscape. On wood. 817. THE SAME. Landscape, with a sea- view in the distance. -- On canvas. FLEMISH AND GERMAN SCHOOLS 163 818. AGRICOLA Christopher. A landscape. The dawn. --On canvas. 825. SAVERY Roland, of Bourtray. Born 1576, d. 1639. A landscape, with figures. (Signed: R. Save.ry, 1614). 821. HOLBEIN John (the Younger). ' Male portrait. On wood. Half life size. 822. KRANACH Luke. Portrait of Catharine Bore, Luther's wife. - - On wood. Half life size. 823. HOREMANS Peter. The tailor's family. On canvas. Dim. fig. 820. BALEN (Henry van), of Antwerp. Born 1560, d. 1632. Numptials of the Holy Virgin. On canvas. Dim. fig. 824. BOUDEWINS Nicholas and F. BAUT. - XVII Century. A landscape, with the view of an old castle. A small painting. On wood. 819. RYCKAERT David. Temptation of St. Anthony. On wood. Dim. fig. 826. TENIERS David (the Elder). Landscape, with many figures. On wood. 827. HOREMANS Jean. The Shoemaker's family. On canvas. Dim. fig. 828. MERA Peter, of Bruxels. Pan and Syrinx, and some nymphs bathing in a river. On copper. Dim. fig. 846. SUAVIO Lambert, called Lamberto Lombardo, of Liege. Born 1506, died 1560. The Deposition. A small painting on wood, in a fine antique enamelled metal frame. On the revers of it, Adam and Eve engraved on a gilded metal plate. 829. WINCKENBOOMS David, of Malines. Born 1578, d Landscape, with figures dancing on the ice. On cooper. 845. KRANACH Luke. John and Frederic, Electors of Saxony. - Signed 164 PAINTINGS with the usual cypher of the author, and dated 1533. - On wood. Dim. fig. 847. KRANACH Luke. Portraits of Luther and Melancthon, bearing the monogram of the author with the date 1543. On wood. Dim. fig. 809. MIBL John. A shepherd, and an ox. On canvas. 764. DENNER Balthasar, of Hambourg. B. 1685, d. 1740. Portrait of a man, wearing a furred coat and "a bonnet. This painting is to be well examined with an eye-glass, in order to admire its inimitable minuteness of details. On canvas. Life size. Signed: Den- ner, 1726. Taken from the store-room of the R. Palace in 1792. 810. RUBENS Peter Paul. An old Silemts, with some satyrs. A sketch. On canvas. 832. BOUDEVINS Nicholas. Landscape, with the view of an old castle. - - On wood. 836. HOREMANS John. Card-players. (Signed : Horemans). On canvas. 834. TENIERS David (the Elder). Landscape, with several dimin. figures. On canvas. 835. HOREMANS John. The female tea-seller. On canvas. Dim. fig. 833. RYCKAERT Martin, of Antwerp. Born 1587, d. 1631. Landscape. The cascade of Tivoli. On canvas. 838. KKANACH Luke. Portrait of Luther. On canvas. Half life size. 839. HOLBEIN John (the Younger). Portrait of woman. On wood. Half life size. 840. HOREMANS John. Family grace before meat. On canvas. Dim. fig. FLEMISH AND GEKMAN SCHOOLS 165 837. RUBENS SCHOOL. The birth of Erychthonus. The nymph Aglaura in the act of covering with a cloth the cradle in which Erychthonus lays, naked, with serpentine legs. On wood. Dim. fig. Taken from the Pitti Palace in 1793. 783. VAN-DYCK Anthony. The Holy Virgin and Child, surrounded by some Angels. The Eternal above. Chiaroscuro. On canvas. Dim. fig. 843. RUBENS SCHOOL. Venus and Cupid, and three nymphs. -- On wood. Dim. fig. 844. AGR1COLA Christopher. Landscape, by night. On canvas. 848. GELLE Claudius, called Claudius of Lorraine. A landscape. Shepherds playing and dancing in a wood, where some goats are grazing. On wood. Dim. fig. This composition is engraved by Claudius himself among the 28 engravings of his Liber Veritatis. - Signed: Claudio Gelle F. Rome 1672. 849. LYS (John Van der), of Oldenburg. Born 1600, d. 1657. The prodigal son. A composition of many figures. On canvas. Half life size. 851. DURER Albert. The Holy Virgin and Child. Half length. On wood. Life size. Bearing the monogram of the author, with the date 1526. 852. DURER SCHOOL. The Virgin adoring the Child Jesus. - - On wood. Dim. fig. 853. AGR1COLA Christopher. Landscape. A rainy day. On canvas. 166 PAINTINGS Dutcli School. This room contains a most remarkable choise of paint- ings of the Dutch School, the greatest part of which were collected and purchased by Cosmus III de' Medici. 854. MIERIS (Francis Van), pupil of Gerard Dow. B. at Delft in 1635, d. at Leyden in 1681. A Charlatan, and his wife before the door of their little shop, in the act of recommending their specifics to a little crowd of various people who are listening to them. (Signed: F. Mieris). -- On wood. Dim. fig. 861. POELEMBURG'S style. Small landscape. On copper. 855. POELEMBURG Cornelius, of Utrecht. B. 1586, d. 1660. A landscape, with figures of passengers on horse back. On copper. 856. WATERLOO Anthony, of Utrecht. Died 1662. Landscape, with figures of fishermen. On canvas. 867. HEEMSKERK Egbert (the Elder), of Harlem. Born 1610, died 1680. Portrait of an old man. Half length. On canvas. Half life size. 858. BRUEGHEL John, called del Velluti, of Harlem. Landscape, with figures. Carters crossing a wood. On copper. 969. BEGA Cornelius. A man playing the lute. On wood. 973. LINGELBACH John, of Frankfort A-M. Born 1625, died at Amsterdam in 1687. A landscape, with some figures of sportsmen at rest and ladies on horse-back. Ond wood. Dim. fig. 863. QUELL1N Erasmus, of Antwerp. Born 1607, died 1678. The Holy Virgin and Child, surrounded with flowers painted by Van Thielen de Malines. DUTCH SCHOOL 167 905. WERFF (Adrian Van der), of Rotterdam. B. 1659, d. 1722. The judgment of Solomon. The King is sitting among his courtiers on his throne and bids a soldier to kill the child in the arms of the mother who is kneeling and entreats her son to be given to the other woman. A painting executed with admirable carefulness of finish. - On wood. Dim. fig. 860. MIERIS (Francis Van). Portrait of the painter's son John Mieris. A half length, in profile. On wood. 864. MARCELLIS Otho, of Amsterdam. B. 1613, d. 1773. A butterfly pursued by a serpent. On canvas. 867. NETSCHER Gaspar, of Heidelberg. B. 1613, d. 1673. A woman iHnding up her watch, by the light of a candle. (A small painting). On wood. 866. NEER (Eglon Van dor), of Amsterdam. B. 1643, d. 1703. Esther before Ahasuerus. On canvas. Dim. fig. Signed: Eglon Hendrik Van der Neer fee. 1696. 986. BEGA Cornelius. A woman playing the lute. On wood. Dim. fig. 870. HEEMSKERK Egbert. An old woman, wearing a veil on her head. On wood. Half life size. 871. BRILL Paul. A landscape, with an old castle in the distance. - On copper. 982. PYNACKER Adam, of Pynacker (Holland). B. 1621, d. 1673. Landscape. A village near a river: some shepherds and a cow. On canvas. 873. SCHALKEN Godfrey. A icoman playing the horn, by the light of a torck. On canvas. Half life size. (Signed : G. Schalkeri). 874. DOUVEX John-Francis, ofRoermont. Born 1655, d. 1727. St. Anna teaching the Virgin to read, by the light of a candle. On wood. Dim. fig. 862. POELEMBURG'S Style. Landscape, with grottos. On copper. 108 PAINTINGS 875. POELEMBURG (Cornelius van), of Utrecht. Born 1466, dead 1531. Landscape, with ruins and figures. On copper. 876. THE'SAME. Landscape, with figures representing Moists found on the Nile. On canvas. Dim. fig. 877. THE SAME. A small landscape, with old ruins. On canvas. 878. THE SAME. Landscape, with old ruins and figures of dancing countiy people. On copper. Life size. 879. LAAR (Peter Van), called il Bamboccio. Born at Lauren, near Naarden in Holland in 1613, died at Harlem in 1673 or 1674. A landscape, with figures. On canvas. 884. BRUEGHEL John, of Antwerp, called Brueghel des ve- lours. Born 1568, died at Antwerp in 1625. The four elements : a composition rich of accessories and animals. On wood. 880. POELEMBURG Cornelius. Small landscape, on an oval copper plate. 881. KESSEL (John Van), of Antwerp. B. 1626, d. 1678 or 79. Fruit, fish, etc. A small painting. On copper. 882. RUYSDAEL Jacob, of Harlem (?). Born 1632. d. 1682. A landscape after a storm. A sun beam crossing a cloud, shines on the damp ground. A large and dark tree in the middle of the painting, rises distinctly before the vast plain. (Signed: Ruysdael). On canvas. 883. POELEMBURG Cornelius. A landscape, with figures representing Moises found on the Nile. On copper. 972. METSU (or Metzu) Gabriel. A lady and a sportsman. A lady in a rich garment is standing near her dressing table in a sumptuous bed- room ; a sportsman in his hunting dress and followed by a hound, approaches respectfully to her. presenting her a dead fowl. This painting is one of the finest DUTCH SCHOOL 169 and most remarkable in this collection. On wood. Dim. fig. 887. MIERIS (William Van), the son of the famous Francis Mieris, of Leyden. Born 1662, d. 1747. St. Mary Magdalene. Above half length. On wood. Dim. fig. 888. SLINGHELAND (Peter Van), of Leyden. B. 1640, d. 1691. The soap bubbles. A very remarkable painting, exe- cuted with a rare carefulness of finish. - - On wood. Dim. fig. (Signed : P. Slingheland, 1661). 889. AELST (Paul Van), of Delft. B. 1602, d. 1658. Si niie dead game. On canvas. (Signed: W. V. Aelst). 890. MIERIS (Francis Van). His oion portrait. A small oval painting. On copper. 979. REMBRANDT (Van Ryn). Landscape. Some steep rocks on the fore ground: a village in a vast plain in the distance. On wood. Given to the Gallery by the Baroness Mary Hadfied. Cosway, in 1839. 892. BRUEGHEL Peter (the Elder). Born at Brueghel near Breda, d. 1569. Christ bearing his Cross. A rich composition of many diminutive figures. On wood. (Signed : P. Breughel, 1599). 981. MIERIS (Francis Van). The painter with his family. The lady is dressed in a silk garment of satin and velvet, and sitting by the fire side in the act of drinking from a glass, which her youngest son who is standing before her has brought to her on a plate he is still holding in his right hand. The eldest daughter in a white satin dress is also standing and is turning her face to the father who is playing aside with a little monkey, and laughing-. This painting was ordered by Cosmus III de' Medici, and is admirable for minuteness of details and perfect execution. On wood. Dim. fig. (Signed : F. Van Mieris fecit 1675). 170 PAINTINGS 895. LEYDEN (Luke of). Born in Leyden 1494, d. 1533. Portrait of Ferdinand Infant of Spain, Archduke of Austria; inscribed: EFF. FERDIN. PRINCLP. ET. INFANT. HISPAN. ARCH. AUSTR. etc. RO. IMP. AN. ETAT. SUE. XXI. VICAR. On wood. Half life size. 896. KESSEL (John Van). Study of a Naturalist put in disorder by Children and Monkeys. On copper. Dim. fig. (Signed : F. V. Kessel fecit anno 1660). 897. BERKEYDEN Gerard, of Harlem. Born 1643, d. 1693. The Cathedral of Harlem. On canvas. 898. POELEMBURG Cornelius. A landscape: a danse of satyrs. On copper. 899. THE SAME. Small landscape. On an oval copper plate. 900. THE SAME. Small landscape, with figures of men and animals. 901. THE SAME. Moises striking the rock. On copper. 902. LAAR (Peter Van), called il Bamboccio. A barn. Figures of country people and horses. On canvas. 903. BRUEGHEL John, called del Velluti. The Elements. (Similar to N. r 884). On wood. 904. POELEMBURG Cornelius. The Adoration of the shepherds. A painting admi- rable for a most careful execution of details and a re- markable effect of lights and shades. On copper. (Signed : C. P.). 865. STEENWYCK (Henry Van), the Younger, of Amsterdam. Born 1589. A subterranean, with diminutive figures, representing the Beheading of St. John the Baptist. The executioner who has already cut off the head of the Saint, presents it to Herodiade : one of the king's ministers stands waiting at the summit of stair-case : Herod with his DUTCH SCHOOL 171 courtiers is seen aside on a terrace. A page with a torch enlightens the whole scene. On wood. 917. DUTCH SCHOOL. Landscape, during a storm, with some figures. On canvas. 907. BOUDEWINR Nicholas. XVII Century. A landscape, crossed by a river. To the left a church and man}- small figures grouped before it on a little square. On canvas. 908. KESSEL (John Van). Fruit and vegetables, partly kept in some baskets, and partly scattered on the ground, in a field. On copper. 909. LAER (or Laar) Peter, called il Bamboccio. A Village scene, with Sportsmen and Horses. On canvas. Dim. fig. 925. AELST (Van). Some dead game. On canvas. Life size. 910. BRUEGHEL John, called del Velluti. Small landscape. On copper. 911. POELEMBURG Cornelius. A landscape, with ruins ; a shepherd and some ani- mals. On an oval copper plate. 912. MARCELLIS Otho, of Amsterdam. B. 1613, d. 1673. Mushrooms and butterflies. On wood. 913. POELEMBURG Cornelius. Landscape, with figures of person and animals. - On copper. 775. JORDAENS Jacob, of Antwerp. B. 1593, d. 1678. Venus with the thee Graces. On canvas. Dim. fig. 915. LAAR (Peter Van), called il Ramboccio. Landscape. A farm house, near which a man is holding two horses by their bridles, and some dogs are resting aside. At a distance two men sitting on a wall are drinking in company of another man who is standing before them ; to the right is a sportsman conversing with a woman. On canvas. Dim. fig. 172 PAINTINGS 916. MIEL John? Two shepherds, with a cow and some goats. On wood. Dim. fig. 906. DUTCH SCHOOL. The Crucifixion. On wood. Dim. fig. 933. BRUEGHEL Peter (the Elder). Hell. Several monsters of various fashions. Dante and Virgil aside. On wood. Dim. fig. 918. METZU (or Metsu) Gabriel, of Leyden. Domestic scene : a woman playing the guitar and a boy caressing a dog on a table covered with a turkish carpet. On wood. Dim. fig. 919. DOUVEN Bartholomew, of Dusseldorf. Born 1688. Portrait of John William the Elector Palatine and his wife Anna Maria Luisa de' Medici. A copj^ of a pain- ting by Adrian Van der Werf, made by B. Douven in 1722. The two portraits are painted in two medallions hang- ing from the hands of two hovering geniouses. Between is the basis of an obelisck, bearing the coats of arms of the two families. Below are the allegorical figures of arts and sciences and the portrait of Van der Werf (the author of the original composition) in another me- dallion supported by the figure of. painting. On can- vas. Dim. fig. 920. DOUVEN John Francis, Bartholomew's father. Born at Roermont in 1615, died 1727. Portrait of Maria Luisa de' Medici, wife of John William the Elector Palatine. On canvas. Dim. fig. 921. PLATTENBERG (Nicholas Van), called Van Platen. B. at Paris in 1631, died 1706. A tempest. On canvas. 922. REMBRANDT (Ryn Van). Born at Leydendorf, a village near Leyden, in 1607, d. at Amsterdam in 1669. The interior of a cottage. The light of the sun shines through a large window, beside which a man is working: a young woman, sitting by a cradle is nursing her little child at the breast ; an old woman is reading a book near her, with a pair or large spectacles before her DUTCH SCHOOL 173 eyes : to the left a hearth. On wood. Dimin. fig. (Signed : Rembrandt}. A small painting exactly like this is kept in the Louvre Museum at Paris, and is called : " The joiner's family." 928. BRUEGHEL Peter (the Elder). Landscaj>e, with a dance of peasants. On wood.- 924. HEEM (John David De), of Utrecht. Born 1600, died at Antwerp in 1674. Fruits, oysters and various utensils. On canvas. 926. DOU (or Dov) Gerard. The pancake seller. An old woman, making and sel- ling pancakes by the door of her own house, and two girls. A pretty landscape on the back-ground : on the fore-ground a large tree to the left and various utensils to the right. On wood. Dim. fig. 1047. VANVITEL (or Vanvitelli) Gaspar, called degli Occhiali, of Utrecht. Born 1647, d. at Rome in 1736. A view of Rome, from the Tiber, near Castel San- t'Angelo. A very fine painting in distemper, on paper. 927. BERKEYDEN Gerard. St. Mary's church a Cologne, with some figures of persons and animals at a fountain. On wood. D. fig. (Signed : Gerrit Berk Hey den}. 923. WOUWERMAN Peter, born at Harlem in 1623, d. 16&3. Some sportsmen reposing. On wood. Dim. fig. 929. LAAR Peter, called il Bamboccio. A woman trashing ; oil painting on slate. D. fig. 930. NETSCHER Gaspar. A lady in a red dress, praying before a Crucifix. On canvas. D. fig. 931. LAAR Peter, called il Bamboccio. A poor man caressing a dog. Oil painting on slate. Dim. fig. 932. MARCELLIS Otho. A large composition of various plants, floicers, ser- pents and insects. On canvas. (Inscribed.: TF.... liurs.... 16....}. 174 PAINTINGS 914. JORDAENS Jacob. Neptune striking the earth, from which a horse springs. On the opposite side of the painting Galathea is re- presented on a carriage, in the act of caressing a Cupid. On canvas. Dim. fig. 934. SCHALKEN Godfrey. A girl in a red garment, sewing by candle light. - On wood. Dim. fig. 1053. VANVITEL Gaspar. Vieic of the Villa Medici, at Rome. In distemper, on paper. 935. BERGHEM (or Berghen) Nicholas, of Harlem. Born 1620, died at Amsterdam in 1683. Landscape, with two cows, and a woman suckling a child. - On wood. D. fig. (Signed : D. V. Berghen). 936. WELDE (Adrian Van der), of Amsterdam. Born 1639, died 1672. Landscape, with animals. On canvas. D. fig. 937. WERFF (Peter Van der), the brother of the celebrated Adrian. Born near Rotterdam in 1665, d. 1717. A boy and a girl toying with a little bird, shut up in a cage, while a cat is looking at it greedily. Other figures aside, an architectural back-ground. On wood. Dim. fig. 938. BERGHEM (Dick Van). B. at Harlem, d. about 1780. A landscape, with two cows and a horse. On canvas. 939. HEEM (John David De). Flowers. (Signed : D. de Heem). On canvas. 940. MARCELLIS Otho. A green lizard and some insects. On canvas. 941. MIERIS (Francis Van). A young woman asleep in an undress, near her bed. Aside in the shade a man speaking with an old woman. - On wood. Dim. fig. 942. HEEMSKERCK Egbert. Many persons smoking and playing the violin. On canvas. DUTCH SCHOOL 175 943. VYSTENBROECH (or Vitenbroek) Michsel. Landscape, with ruins and animals grazing : a she- pherd dancing and a woman playing the tambourin. On wood. Dim. fig. On the lower edge of the painting are the letters : M. X. B., and the date 1G24. 944. BREEMBERG Bartholemew, of Utrecht. B. 1620, d. 1660. Landscape, with Roman ruins. On wood. 945. MIERIS (Francis Van). Two old folks at table. At a table near a window an old woman is sitting and drinking bear : an old man at the apposite side is slicing a loaf. A bird cage hangs before the window, by the sill of which is a pot with a plant of pinks. Left and right are two bunches of carrots. On wood. D. fig. (Signed : F. V. Mieris). 946. GALLE Jerome. A feston of ftotcers. On wood. (Signed : Hieroni- mus Galle f. A. 1655}. 947. HOREMANS Peter. A game at Skittles. On canvas. Dim. fig. 948. MOUCHERON Isaac, of Amsterdam. B. 1670, d. 1744. Landscape, with large trees. On canvas. (Signed: Moucheron). 949. NETSCHER Caspar. A sacrifice to Venus. A young woman in a white garment is kneeling before a statue of Venus. A maid stands behind her, bearing two doves in a basket. A satyr is looking at the two w r omen, aside. On wood. Dim. fig. 950. THE SAME. The portrait of the painter, with his wife and two pretty children toying with a goat. A landscape back- ground. On canvas. Dim. fig. (Signed: G. Netschc.r 1654). 951. WELDE (Adrian Van der). Landscape, with figures of persons and animals. - On canvas. Dim. fig. 176 PAINTINGS 868. BRUEGHEL SCHOOL. Small landscape, with ruins. -- On copper. 952. MIERIS (Francis Van). The aged lover. An old man, dressed in a pilgrim's dress is in the act of declaring his love to a young woman who flies from him refusing the money he has put for her upon a table. The scene is lighted by a candle. By the upper edge of the painting are the fol- lowing words : " OUDT. MAL. IS. NIET. METAL. " (This time gold is not the conqueror}. On wood. Dim. fig. 953. RUYSCH (Rachel Van Pool), of Amsterdam. Born 1664, d. 1750. Fruit and flowers. A splendid painting, considered as one of the most admirable works of this famous artist. On wood. (Signed : Rachel Ruysch 11 If). 954. MIERIS (Francis Van). Tipplers. A man, sitting on a table shows an empty glass to a woman. Another man is sleeping aside. (Signed: F. V. Mieris / ad of a young woman. On canvas. Life size. 1054. MAGXASCO Alessandro. Landscape. Preaching of St. John the Baptist. On canvas. D. fig. 1007. CARACCI Annibale. The Virgin seated, and the infant Saviour standing by her. Aside, to the right is St. John. On copper. D. fig. 1003. ROSA Salvatore, of Xapoli. Born 1615, d. 1673. Sea piece. A small painting (Signed: Rosa). On canvas. 1004. PARMIGIAXINO (Mazzuoli Francesco, called). The, Holy Virgin sukling her divine Child. A very small painting. On copper. 1005. ROSA Salvatore. Landscape. A rocky shore, with a group of soldiers on the fore-ground. On canvas. 1006. PARMIGIAXINO (Mazzuoli Francesco, called). The Holy Virgin with the infant Jesus, St. John, St. Man.- Magdalene and the prophet Zachariah. On wood. Dim. fig. 1002. TIZ1AXO. The Holy Virgin, and Child, surrounded by angels. A precious little painting in perfect state of preserva- tion. -- Senator Morelli in his book: Le opere dei Maestri italiani nelle Gallerie di Monaco, Dresda e Ber- lino